The Most Complete Digital Camera System Ever Built the Industry’S Gold Standard

Home , Arri, Arri Alexa, Baar Baar Dekho, Claudio Miranda, Newton Thomas Sigel, Super 35

THE MOST COMPLETE DIGITAL CAMERA SYSTEM EVER BUILT THE INDUSTRY’S GOLD STANDARD

“I THINK ALEXA IS THE BEST SYSTEM OUT THERE, WITH DIFFERENT CAMERA MODELS AND RECORDING OPTIONS TO CHOOSE FROM, ALL OFFERING – TO MY EYE – THE HIGHEST IMAGE QUALITY.”

Cinematographer Roger Deakins CBE, ASC, BSC

2 A camera system that changed everything

Since the moment it was launched, ALEXA has had a profound impact on the industry, redefining the limits of digital motion picture capture with efficient workflows and incredible image quality. All over the world it has been accepted as the gold standard for productions ranging from episodic TV shows, documentaries and commercials to feature films and drama series. With its future-proof system architecture, ALEXA continues to adapt to evolving needs such as high resolution and high dynamic range distribution channels.

Every film Roger Deakins has shot digitally, he has captured with ALEXA.

In Time (2011) Director: Andrew Niccol Skyfall (2012) Director: Sam Mendes Prisoners (2013) Director: Denis Villeneuve Unbroken (2014) Director: Angelina Jolie Sicario (2015) Director: Denis Villeneuve Untitled Blade Runner project (2016) Director: Denis Villeneuve Photo courtesy of: David James

3 “THE ALEXA CAMERA SYSTEM ALLOWED “ALEXA AND THE ARRIRAW FORMAT US TO SHOOT WITH VERY LOW OFFER A MORE GENEROUS DIMENSION LIGHT LEVELS AND MAKE THE MOVIE IN TERMS OF COLOUR SPACE THAN EVEN MORE IMMERSIVE.” OTHER DIGITAL CAMERAS. I ALSO Emmanuel Lubezki ASC, AMC APPRECIATE HOW THE DYNAMIC RANGE Cinematographer CAN HOLD BRIGHT HIGHLIGHTS SO WELL.” ALEXA credits include: The Revenant, Gravity, Frankie DeMarco Birdman and Weightless Cinematographer ALEXA credits include: All is Lost Photo: Dikayl Rimmasch

“THE AVENGERS WAS MY FIRST FEATURE “I LOVE WORKING WITH ALEXA — FILM WITH THE ALEXA. I WAS REALLY YOU GET GORGEOUS, REFINED IMAGES HAPPY WITH OUR IMAGES. WHAT WAS WITH THE IMMEDIACY OF SHOOTING PARTICULARLY IMPRESSIVE WAS HOW DIGITAL. I'M A STAUNCH FILM LOVER WELL IT HELD UP IN IMAX THEATERS.... AND IT'S THE ONE DIGITAL CAMERA THIS WAS A REVELATION TO ME.” THAT REPLICATES FILM'S COLOR SPACE, Seamus McGarvey ASC, BSC TEXTURE AND DYNAMIC RANGE Cinematographer BETTER THAN ANY OTHER.” ALEXA credits include: Marvel's The Avengers, Reed Morano ASC Fifty Shades of Grey and Pan Cinematographer ALEXA credits include: The Skeleton Twins, War Story and Meadowland

“I’VE BEEN A CAMERAMAN FOR MORE “THE INDIAN FILM INDUSTRY HAS THAN 30 YEARS AND THIS IS THE FIRST BEEN IN LOVE WITH 35 MM FOR A LONG QUANTUM LEAP IN FILMMAKING TIME; NOW WE ARE IN LOVE WITH TECHNOLOGY I’VE SEEN SINCE ALEXA. THIS CAMERA PERFECTLY I STARTED OUT - EVERY OTHER CAPTURES THE COLOR AND VITALITY CHANGE HAS BEEN INCREMENTAL.” OF INDIAN CINEMA, WITH IMAGES AS Robert McLachlan CSC, ASC RICH AND ORGANIC AS FILM.” Cinematographer Ravi K. Chandran ISC ALEXA credits include: Game of Thrones and Cinematographer/director Ray Donovan ALEXA credits include: Yaan and Baar Baar Dekho

“WE WERE THE FIRST TO USE THE “ALEXA HAS BEEN MY CHOICE FOR ALEXA ON A FEATURE AND IT EVERY PROJECT SINCE I STARTED WAS CLEAR THAT THIS CAMERA SHOOTING DIGITAL. IT SEES LIFE LIKE REPRESENTED A REVOLUTION FOR I DO AND I DON'T HAVE TO CORRECT FILMMAKING. ITS SENSITIVITY ANY NOISE OR GRAIN.” AND DYNAMIC RANGE DELIVER Yves Bélanger CSC RESULTS THAT USED TO BE Cinematographer UNTHINKABLE.” ALEXA credits include: Brooklyn, Dallas Buyers Club and Wild Anna Foerster ASC Cinematographer ALEXA credits include: Anonymous and White House Down

4 “ALEXA IS BUILT LIKE A GERMAN “NO MATTER WHAT HAPPENS WITH TANK, VERY SUPERB AND RELIABLE. DIGITAL CINEMA, ALEXA IS THE CAMERA WE NEVER HAD A PROBLEM I CAN RELY ON…I LIKE ARRIRAW AS IT WHEN SHOOTING IN DUST, WIND, GIVES ME THE GREATEST RANGE AND ICE AND FIRE. YOU CANNOT REALLY THE MOST POSSIBILITY TO ACHIEVE THE BREAK THE CAMERA.” LOOK I WANT.” Kramer Morgenthau ASC Phedon Papamichael ASC Cinematographer Cinematographer ALEXA credits include: Thor: The Dark World, ALEXA credits include: Nebraska, Monuments Men Chef and Terminator Genisys and The Huntsman: Winter's War

“THE DYNAMIC RANGE AND GORGEOUS “IN TESTS ARRIRAW WON OUT OVER PALETTE OF THE ALEXA FAMILY MADE 35 MM FILM. I FELT SO SAFE WITH IT SHOOTING IN NATIVE 3D ON X-MEN: THAT I BECAME A MORE INTUITIVE DP, DAYS OF FUTURE PAST A JOY. I CANNOT FREE TO FOCUS ON ARTISTIC RATHER IMAGINE HAVING SHOT THE FILM WITH THAN TECHNICAL CONCERNS.” ANY OTHER CAMERA.” Benoît Delhomme AFC Newton Thomas Sigel ASC Cinematographer Cinematographer ALEXA credits include: A Most Wanted Man, ALEXA credits include: X-Men: Days of Future Past The Theory of Everything and Free State of Jones and Drive

Photo: Rainer Hosch

“I THINK ARRI CAMERAS ARE “THE ARRIRAW IMAGES FROM THE THE BEST IN THE WORLD ALEXA WERE CLEAN, RICH IN DETAIL AT THE MOMENT TO CAPTURE AND HIGHLY PLIABLE IN THE VFX SKIN TONES.” ENVIRONMENT; ESSENTIAL FOR WHAT Friede Clausz BVK WE NEEDED ON GRAVITY.” Cinematographer Tim Webber ALEXA credits include: Los Ángeles Visual effects supervisor and 24 weeks ALEXA credits include: Gravity

“THE ALEXA SYSTEM IS WITHOUT DOUBT “I'D RATHER HAVE BETTER PIXELS THE FIRST DIGITAL IMAGE CAPTURE THAN MORE PIXELS.” SYSTEM TO SATISFY THE MORE Jake Morrison FEARFUL OR SKEPTICAL SECTORS OF Visual effects supervisor THE FILMMAKING COMMUNITY!” ALEXA credits include: Marvel's The Avengers, Ant-Man and Thor: The Dark World Anthony Dod Mantle ASC, BSC, DFF Cinematographer ALEXA credits include: Rush, In the Heart of the Sea, Trance and Snowden

5 AND THE WINNER IS:

BEST CINEMATOGRAPHY OSCAR® AWARDED 5 YEARS IN A ROW TO ALEXA PRODUCTIONS

2016 2015 2014 3 OSCARS® 4 OSCARS® 7 OSCARS®

6 Filmmakers and motion pictures working with ALEXA have been among the winners and nominees of the top Academy Awards, and numerous other international awards, ever since the camera was released.

In 2012, the first year in which ALEXA-shot movies could be considered, four films captured with ALEXA were Oscar® nominated. One of them was Hugo (Dir. Martin Scorsese; DP Robert Richardson ASC), which was awarded five statuettes, including those for cinematography and visual effects – the two most relevant to image quality. In 2013 this feat was repeated when Life of Pi (Dir. Ang Lee; DP Claudio Miranda ASC) took the cinematography and visual effects awards, and once again a year later whenGravity (Dir. Alfonso Cuaron; DP Emmanuel Lubezki ASC, AMC) did the same.

Lubezki claimed the cinematography Oscar® again for Birdman in 2015 and The Revenant in 2016, making it five years in a row that productions captured with ALEXA had won the award. 2013 2012 4 OSCARS® 5 OSCARS®

7 THE BEST JUST GOT BETTER

SXT, or Super Xtended Technology, is the new high-performance platform for the ALEXA family of cameras, with the ALEXA SXT EV (Entry Version), ALEXA SXT Plus and ALEXA SXT Studio replacing ALEXA XT models.

Ever since its launch, the ALEXA system’s fundamental advantage has been its unique combination of the highest overall image quality with the most efficient workflows on set and in post. Based on extensive market feedback, the ALEXA SXT cameras further improve upon those qualities.

8 NEW FEATURES

New Recording Formats New ARRI Look Management Super Flexible On-Set Monitoring

• 14 carefully fine-tuned recording options • Look management - preproduction to post • High Dynamic Range (HDR) monitoring · maintain and share DP's look on set, · for on-set HDR quality control • All sensor modes in ARRIRAW and ProRes in dailies and in editing • Four independent monitoring outputs • 6 new recording formats · wide range of unique looks possible · 1x viewfinder and 3x MON OUT · 16:9 ProRes 4K UHD · new ARRI Look File contains CDL and 3D LUT · Open Gate ProRes 4K Cine • Rec 709 or Rec 2020 outputs • Look file always stored in metadata for · 6:5 ProRes 2K Anamorphic · for future-proof monitoring · live grading on set · 6:5 ProRes 4K Cine Anamorphic · automated dailies creation · 16:9 ARRIRAW 3.2K · editing with looks · Open Gate ProRes 3.4K

Improved Image Quality New SXR Capture Drives New Media Bay

• Optional mild ARRI Noise Reduction (ANR) • High reliability • Supports wide range of media · XR and SXR Capture Drives • Advanced defect pixel correction • High speed · SxS PRO and SxS PRO+ cards • More range for baked-in looks with 3D LUTs • High capacity · CFast 2.0 cards

• ProRes RAID · Redundant recording to XR and SXR Capture Drives

9 FUTURE-PROOF IMAGES FOR 4K-HDR-WCG-HFR

10 More than ever before, ALEXA offers the best overall By striking a perfect balance between pixel size and resolution, ALEXA SXT is able to produce beautiful images image quality with the SXT cameras. For content in HD, 2K, 4K UHD or 4K Cine, while also delivering the highest dynamic range of any camera on the market, producers that are increasingly concerned about with 16 bit in-camera processing. It is therefore uniquely suited to the creation of content for emerging HDR compatibility with next-generation standards for (High Dynamic Range) display technologies. Since ALEXA SXT records a WCG (Wide Color Gamut) signal deliverables and displays, there is no better choice larger than any current displays can show, its images are ready for new color space standards like Rec 2020. than ALEXA SXT. In addition, the ability to record at up to 120 fps in full image quality means that HFR (High Frame Rate) approaches to enhancing viewer experience can also be easily accommodated.

DP: Adi Geisegger

11 GREAT CHOICE OF RECORDING FORMATS

12 ALEXA SXT offers a total of 14 in-camera recording formats, six of which are completely new. All sensor modes can now be recorded in ARRIRAW or ProRes. Whatever the budget, intended market, resolution requirements, aspect ratio, lens choices or postproduction plans, there is an ideal ALEXA SXT recording format to ensure easy operation on set and a seamless image pipeline.

Recording Formats (SXT SUP 1.0) 16:9 ProRes 4K UHD 6:5 ProRes 4K Cine Anamorphic

The easiest and fastest path to the best 4K UHD The most economical path to the best overall 4K image quality with Sensor Mode Recording Recording File Type Resolution image, offering the immediacy and speed anamorphic lenses. The camera creates a ready-to-view ProRes HD of ProRes in the UHD distribution standard of file in the 4K DCI delivery format (4096 x 1716), so no debayering,

2K 3840 x 2160 pixels. cropping, rescaling or de-squeezing is needed in post. ProRes 3.2K 16:9 Open Gate ProRes 4K Cine 16:9 ARRIRAW 3.2K 4K UHD A format unique to SXT cameras; it not only The largest number of pixels that can be processed at 120 fps (3168 x 1782). 2.8K ARRIRAW provides the cine standard of 4096 pixels Use the full image area with ARRI Super 35 PL mount lenses, or gain 3.2K across, but allows for up/down repositioning extra room for repositioning, stabilizing and tracking when using lenses 2K ProRes Anamorphic in post through the height of 2636 pixels. with an image circle covering a 2.8K image area. 4K Cine 6:5 Anamorphic 6:5 ProRes 2K Anamorphic Open Gate ProRes 3.4K ARRIRAW 2.6K ProRes 2.8K The most economical path to the best overall Designed for those who want the maximum image area and pixel count 4:3 ARRIRAW 2.8K 2K image quality with anamorphic lenses. from a Super 35 ALEXA (3424 x 2202) in combination with the immediacy The camera creates a ready-to-view ProRes file and speed of ProRes. 3.4K ProRes in the 2K DCI delivery format (2048 x 858), so no Open Gate 4K Cine debayering, cropping, rescaling or de-squeezing ARRIRAW 3.4K is needed in post.

13 KEEP YOUR LOOK FROM PREP TO POST

ALEXA SXT incorporates a completely new look management architecture, offering Graded Rec 709 or Rec 2020 image total control of looks from preproduction through post in order to protect and share On-set monitoring the cinematographer's creative intentions. A new ARRI Color Tool (ACT) and ARRI Look ALEXA SXT

File (ALF-2) allow the creation of unique looks, which are compatible with ALEXA Mini CDL & 3D LUT Ethernet and AMIRA. With all look information stored in the metadata of recorded files, this new system enables live grading on set, as well as automated dailies and editing with ARRIRAW looks. Early and wide adoption of the system by third parties ensures that the desired Metadata look is maintained throughout a smooth workflow, no matter what your preferred grading, dailies or editing tools.

Deliverables creation

Color grading

14 Live grading on set Automated dailies Editing with looks

ALEXA SXT cameras can replace a LUT box on set. The ALF-2 look file is always stored in metadata, so dailies Non-linear editing programs such as Avid Media Live grading to fine-tune the cinematographer's and editing proxies that show the same look as was seen Composer, Apple Final Cut Pro X and Adobe look on set is already supported by Pomfort on set can be generated automatically and fast. This is Premiere Pro can apply looks from metadata LiveGrade, Codex Live, Colorfront On-Set Live, supported by DaVinci Resolve, Colorfront OSD, Codex automatically, allowing the editor to see the KEEP YOUR LOOK Filmlight Prelight and Technicolor DP Lights, with Production Suite, Pomfort Silverstack and Filmlight Daylight, same look as was seen on set and in dailies. others in progress. with others in progress.

15 FULL FLEXIBILITY FOR MONITORING ON SET

DP Matias Boucard with camera assistant FranÇois Vigon L'affaire SK1 © Roger Do Minh

16 On-set quality control for High Dynamic Range The right image for each crew member Rec 709 and Rec 2020 outputs

While images recorded with ALEXA have been Four independent monitoring outputs (EVF-1 and The color range captured by ALEXA (ALEXA Wide Gamut) far High Dynamic Range (HDR) since 2010, three MON OUTs) cater to the needs of different exceeds the ability of current displays. Through its increased ALEXA SXT can be used with the latest HDR crew members. Each output has completely processing power, ALEXA SXT can provide an independent monitors to allow monitoring of HDR images independent settings such as image processing, color space for each MON OUT, including the HD standard of on set, for precise quality control. surround view, status info, peaking and false color. Rec 709 and the new UHD standard of Rec 2020.

Operator: Assistant: DIT: Director: EVF-1 with custom look, frame lines, Rec 709 on-board monitor with Rec 709 monitor with Log C, clean Rec 2020 monitor with custom look, surround view and status info frame lines, surround view, status frame lines and surround view info and LDS info

Example of how the four independent monitoring outputs might be used on set

17 UNIQUELY SUITED TO TRUE ANAMORPHIC

Meadowland Director/DP: Reed Morano ASC © Meadowland Movie, LLC

18 Anamorphic cinematography produces a widescreen look that has long been appreciated by filmmakers and With the new sensor modes (6:5 and 8:9) and the option audiences worldwide. The unique tall sensor of ALEXA cameras maximizes resolution when using anamorphic to record and monitor squeezed or de-squeezed images, lenses and ensures that the distinct optical qualities of those lenses are rendered faithfully in the digital image. the ALEXA SXT system presents the perfect solution Since ALEXA's sensor has almost exactly the same dimensions as a 35 mm film image, anamorphic lenses for anamorphic productions. maintain their field of view.

6:5 SENSOR MODE 2.39 2.39/2 = 1.195 1.195 For the most efficient recording and post-processing of anamorphic images, the 6:5 sensor mode has been introduced. Dividing the CinemaScope aspect 1 1 ratio of 2.39:1 by the lens' horizontal squeeze factor of two results in a 1.195:1 image area, which can also be expressed as 6:5. The 6:5 sensor mode original scene on set 2 x horizontal squeeze 1.195:1 = 1.2:1 = 6:5 area on sensor captures only the image area needed by anamorphic lenses for a 2.39:1 through anamorphic lens deliverable. In contrast to the old 4:3, this allows higher frame rates, avoids loss of resolution in ProRes recordings and results in fewer post-processing steps for ProRes and ARRIRAW.

16 16/2 = 8 8 8:9 SENSOR MODE

9 9 For productions intended for 16:9 HD or UHD TV distribution, the 8:9 sensor mode is the best option when shooting with anamorphic lenses (from original scene on set 2 x horizontal squeeze 8:9 area on sensor ALEXA SXT Software Update Package 2.0). through anamorphic lens

19 FUTURE-PROOF PRODUCT DESIGN

The ALEXA system is based on an open architecture, with many industry-standard interfaces and compatibility with third-party products. This provides more choice to the filmmaker and ensures that best-of-class components can be used. To protect customers’ investment in ALEXA, a plethora of affordable hardware and software upgrades have been promised and delivered, continually expanding the feature set.

20 SXT Plus Panel XT Plus Panel Standard Panel SxS Module XR Module SXR Module since 2016 since 2013 since 2010 since 2010 since 2013 since 2016

PL Mount

Panavision Mount

Four ALEXA components have been specially designed to remote control. Third, the Exchangeable Lens Mount facilitate an easy upgrade path. First, the camera's left allows the use of PL, LDS PL or Panavision lenses, side holds the Storage Interface Module; the original SxS LDS PL Mount further extending creative options. And finally, ALEXA’s Module was replaced by the XR Module for ALEXA XT processors are Field Programmable Gate Arrays (FPGA), cameras, which is now superseded by the SXR module for a technology that permits the camera's feature set ALEXA SXT cameras. Second, the Electronics Interface to be completely reprogramed. This has allowed the Module on the right side can be replaced with an upgrade continuous development of many exciting new features such as the Plus Panel, for wireless camera and lens through free-of-charge software updates.

21 Create great images efficiently

Through detailed case studies, ARRI engineers have examined how images, sound and metadata are VERSATILE created and moved through the entire digital workflow AND EFFICIENT WORKFLOWS chain. As a result, productions are free to select the most appropriate and cost-efficient recording medium, format and color space for their needs, making ALEXA suitable for a wide range of workflow and budget requirements.

22 Choose your ideal recording options Move smoothly into post

ALEXA SXT cameras offer in-camera recording of ARRIRAW or ProRes to a wide Great efforts have been taken to prepare captured material for efficient handling in all range of media. ProRes enables file-based workflows that save time and money, near-set and post processes. Rich metadata is recorded into every format and the new while ARRIRAW delivers maximum image quality, the greatest flexibility in post ARRI look management maintains, protects and shares the cinematographer's look on and the safest choice for archiving. Additional options are provided by different set, in dailies creation and in editing. Through close collaboration with ARRI partners, all recording color spaces, the most popular being ARRI Wide Gamut/Log C, which relevant editing, grading and visual effects tools can read and process ALEXA files and captures the widest range of tonal values and colors for advanced color timing. display the look, without any need for pre-processing. Additionally, ARRI enhances the Rec 709 is perfect for immediate access to HD images, while Rec 2020 provides workflow at all stages through a wide range of powerful stand-alone applications and immediate access to images utilizing this new color space standard. useful online tools, and by sharing software code with third parties.

XR / SXR Capture Drives, SxS PRO / SxS PRO+ cards or CFast 2.0 cards

XR / SXR Capture Drives

23 Effortless and efficient IN-CAMERA PRORES No other motion picture camera bridges the gap between RECORDING production and postproduction as simply and elegantly EASY as ALEXA. By utilizing the Apple ProRes codecs, which are the same high-quality codecs used natively by Apple’s Final Cut Pro editing software, ALEXA offers the most streamlined and cost-effective workflow possible.

24 For home or cinema screens Smaller files for faster workflows

While ProRes is the staple of TV productions worldwide, its ProRes provides high image quality while using high image quality and specialized recording options also compression to reduce file size and thus costs. make it suitable for the big screen. Between ProRes 3.2K, Native support by Apple and an expansive Open Gate ProRes, ProRes 4444 XQ, ProRes pre-recording infrastructure, from the built-in ProRes viewer in and ProRes in-camera de-squeeze for shooting with every Mac to specialized VFX software, provides anamorphic lenses, filmmakers can choose the ProRes codec unrivaled immediacy and speed when working most appropriate for their project. with ProRes files.

“I DID A TEST WITH LOTS OF DIFFERENT CAMERAS…WE FINALLY SETTLED ON ALEXA AND PRORES, AS THIS IS THE BEST COMBINATION OF IMAGE QUALITY AND SMALLER FILE SIZE.”

Cinematographer Chun-Seok Kim

That Winter, the Wind Blows © SBS

25 ARRIRAW FOR Maximum image quality

For productions requiring uncompromised image quality, ARRIRAW is the best digital recording option. Unlike other camera formats, ULTIMATE ARRIRAW delivers raw, uncompressed, unencrypted image data and QUALITY AND FLEXIBILITY does not ‘bake in’ any camera settings. This, in addition to the lack of compression, provides artefact-free images and maximum flexibility in post, as has been proven on numerous blockbuster movies, lower budget features and commercials.

26 Safe archiving

Since ARRIRAW image processing is openly published in SMPTE RDD 30 and 31, and a number of white papers, it is also an excellent, future-proof archiving format. Footage archived in ARRIRAW can be retrieved safely in the future and will look even better through continuous advances in debayering technology.

ALEXA SXT sensor modes

4:3 - Often chosen for projects using Sensor Size 16:9 - The ideal format for TV series or Sensor Size spherical lenses that require extra room 16:9 4:3 commercials using spherical lenses. above and below the image for VFX markers or repositioning.

8:9 - For TV series or commercials using Open Gate - For all projects wanting Sensor Size Sensor Size anamorphic lenses with a 16:9 deliverable. = Open Gate the maximum image area and pixel 8:9 Available from ALEXA SXT Software Update count from a Super 35 format ALEXA. Package SUP 2.0. Best for resizing, repositioning, rotating, stabilizing, tracking and 4K up-sampling in post. 6:5 - Plug-and-play for any project using Sensor Size anamorphic lenses with a 2.39:1 CinemaScope 6:5 deliverable. The 6:5 sensor mode, in contrast to 4:3, allows higher frame rates and reduces the number of processing steps needed in post.

27 ARRIRAW FOR SMALLER BUDGETS

Cuéntame como pasó Nirvana Lavender TV drama, Spain Feature film, China Feature film, Canada DP: Tote Trenas AEC DP: Shan He DP: Brendan Steacy CSC © Grupo Ganga producciones © CCTV movie channel © Lavender FIlms

28 While ARRIRAW used to be employed mainly for high-end feature films, recent years have seen it become a popular choice for smaller budget features, commercials and even some TV series. Increases in computer processing power, compatibility with common postproduction tools and ARRI's continued dialogue with the industry through its partner program have all improved workflow speeds and made ARRIRAW a compelling, widely affordable option.

Scarlet Heart Rams The Land TV drama, South Korea Feature film, Iceland Feature film, USA DP: Chun-Seok Kim DP: Sturla Brandth Grøvlen DFF DP: Steve Holleran © SBS © Netop Films © IFC Films

29 Metadata is information about the images and sound recorded, such as lens information, camera type, tilt/roll data, look files and much more. Metadata is becoming increasingly important SAVE TIME on set and in post, as it allows filmmakers to concentrate on their WITH RICH METADATA creative work without having to manually track tedious details already known to the camera. The ARRI metadata system is unique in its wide scope and assures an automatic and seamless flow of information from the set into post.

Photo: Helen Sloan Photo: Macall B. Polay

30 Faster on set Faster in post

A rich set of metadata is always recorded into the ARRIRAW and ProRes files. At the Metadata greatly helps lubricate the flow of images through post, especially same time ALEXA provides live streams of this information for many different uses on on projects handling massive amounts of data. Having instant access set. The ARRI WCU-4 wireless hand unit graphically displays critical lens information like to reliable information such as clip name, date of recording, recording format depth of field, allows lens mapping and performs precise focus tracking. Monitors show and frame rate simplifies media asset management and is a valuable camera and lens status, and specialized software provides real-time pre-visualization of timesaver. Frame-accurate lens information about focus, zoom and iris complex VFX shots. Looks can be fine-tuned and the results are automatically recorded, so settings is critically important for VFX compositing, as it allows a closer they can be used for dailies and in final grading. Custom frame lines can be created in prep match between computer generated images and live footage, especially for and transported as metadata for automatic image cropping in dailies creation. tricky shots involving simultaneous zooms and camera moves.

“ON GAME OF THRONES THE ACCURACY OF OUR LENS DATA IS MISSION CRITICAL. ARRI HAS BENT OVER BACKWARDS TO ENSURE THAT OUR LENSES AND CAMERAS ARE TALKING, AND THAT METADATA INFORMS EVERY MOVE WE MAKE.”

Steve Kullback, visual effects producer

31 HIGHEST PRODUCTION VALUE

Bajrangi Bhaijaan DP: Aseem Mishra © Salman Khan Films

32 Best overall image quality Best overall production costs

All ALEXA cameras offer unrivalled image quality by focusing not just on The overall production costs of choosing a particular camera go far beyond the rental fee. spatial resolution, but also on other crucial elements such as color rendition, They include on-set factors such as reliability and downtime, speed of changing setup, ease skin tones and dynamic range. It is ALEXA’s careful balancing of all the of operation and flexibility of configuration. They also include postproduction factors such different image quality parameters that make it the most popular choice as how quickly images can be moved from set to post, how easy they are to grade, how for top-level filmmakers who judge cameras not by numbers, but by their much metadata is available and how simply VFX elements can be incorporated. ALEXA SXT own tests and their own eyes. ALEXA delivers the best overall image quality aces all of these factors; with its robust build quality, seamlessly integrated camera and lens whether the chosen output is HD, 2K, 4K or one of the native resolution control functions, rich metadata and huge variety of recording options, it delivers the best outputs like ProRes 3.2K or uncompressed ARRIRAW Open Gate. overall production value available.

The Revenant Cuéntame como pasó DP: Emmanuel Lubezki ASC, AMC DP: Tote Trenas AEC © Twentieth Century Fox © Grupo Ganga producciones

33 THE MOST POWERFUL CAMERA SYSTEM

ALEXA Classic EV – THE ORIGINAL ALEXA SXT EV – SUPER XTENDED

Where it all began: the classic ALEXA with its A tall sensor for anamorphic shooting, in-camera ARRIRAW recording up to 120 fps, 16:9 sensor is compact and affordable, with 14 recording formats, ARRI look management, super flexible on-set monitoring, ultra-fast workflows and image quality akin ARRI Lens Data System, improved image quality, single speed mode, a new media to 35 mm film. bay and new, high-performance drives - what's not to love?

34 What makes ALEXA the most powerful digital camera system ever built? It is the range of camera models, each tailored to specific industry requirements. It is the best overall image quality, efficient and versatile workflows, simple and safe operation, and the open and future-proof architecture. It is the tight integration with ARRI and third-party accessories. And it is the existence of a whole biosphere of ARRI and third-party software tools, all supporting ALEXA.

ALEXA SXT Plus – THE ALL-ROUNDER ALEXA SXT Studio – THE FLAGSHIP ALEXA Mini – THE COMPANION

The Swiss Army knife of cameras: all the features of All the features of the ALEXA SXT Plus, but with Compact, lightweight and self-contained, yet the ALEXA SXT EV, plus built-in wireless remote control a film-style optical viewfinder, rotating mirror capturing the same image quality as other of camera and lens motors, tilt/roll sensors, electronic shutter and motorized ND filter slider. ALEXA models, the Mini is ideal for gimbal horizon and additional connectors for remote control, mounts, drones and helicopters, as well as video output and accessory power. underwater, car, action and 3D shoots.

35 THE ORIGINAL

The first camera on the scene remains at the center of the family; it is the keystone of a modular and upgradeable system that offers not just an image-capture solution, but an entire image pipeline. Working successfully on TV shows worldwide and updated with the latest software, the ALEXA Classic EV is proof of ARRI's long product cycles and the secure investment ALEXA cameras represent.

36 HDR since 2010

Recognizing the importance of high dynamic range early on, ARRI has designed first ALEXA in 2010 contains a wealth of information from the brightest to the ALEXA cameras with the widest exposure latitude of any camera in the industry. darkest parts of the image, which is why ALEXA footage outperforms all others This provides not only the most creative flexibility in color grading, but also is on HDR displays and projectors. the ideal basis for a spectacular display in HDR. Even footage captured with the

37 SUPER XTENDED

While keeping the sensor and user interface of the original ALEXA design, the capabilities of ALEXA SXT cameras have been greatly extended. Equipped with the powerful electronics and sophisticated image processing of the ALEXA 65, SXT cameras can manage more recording formats and handle more processor-intensive tasks such as calculating looks with 3D LUTs or color space conversions to Rec 2020, all in real time. Building on work done originally for the ALEXA Mini and AMIRA, the new ARRI look management and optional noise reduction help creative filmmakers get their ideas across. And last but not least, the new media bay can accept a wide range of media, as well as the new, high-performance SXR Capture Drives.

38 Various recording media New SXR Capture Drives

The new media bay can accommodate a The new SXR Capture Drives represent the next generation of professional solid-state media for ALEXA SXT and ALEXA 65 wide range of media for unrivaled flexibility: cameras. Sophisticated selection of memory, careful manufacturing processes and a modern, robust housing design make XR and SXR Capture Drives, SxS PRO these the most reliable media on the market. Their lightning-fast maximum write speed of 20 Gb/s allows for higher maximum and SxS PRO+ cards, and CFast 2.0 cards. frame rates with some recording formats, while the 1 TB or 2 TB capacity permits longer recording times.

CFast 2.0 Adapter 2 and CFast 2.0 card

SxS Adapter 2 and SxS PRO/SxS PRO+ card

XR Adapter and XR Capture Drive

SXR Adapter and SXR Capture Drive

39 THE ALL-ROUNDER

The ALEXA SXT Plus is the most versatile and flexible of the ALEXA SXT cameras, a true all-rounder. With an integrated wireless radio for camera and lens remote control, tilt/roll sensors, electronic horizon and additional connectors for camera and lens control, signal output and accessory power, the ALEXA SXT Plus offers the best value and widest range of uses.

40 ARRI ELECTRONIC CONTROL SYSTEM ARRI LDS LENSES

Single Axis Unit Wireless Compact Controlled Lens ARRI/ZEISS ARRI/ZEISS ARRI/ZEISS ARRI/ZEISS ARRI/FUJINON ARRI/FUJINON ARRI SXU-1 Unit WCU-4 Motor CLM-4 LDS Ultra Prime Master Prime Master Anamorphic Master Macro 1.4x Extender Lightweight Zoom Anamorphic UWZ 19-36 lenses lenses lenses 100 2.0x Extender LWZ 15.5-45/ LWZ 30-80 Ultra Wide Zoom UWZ 9.5-18

Lens metadata for a smooth workflow Simplifying VFX

Lens metadata is invaluable for efficient working on set and speedy VFX in post, For a full, end-to-end metadata workflow into VFX post, ARRIRAW and ProRes metadata which is why ALEXA SXT cameras are equipped with a Lens Data System (LDS) lens can be carried over to DPX or OpenEXR files through the ARRI Metadata Bridge (AMB). mount, allowing them to insert lens metadata into all recording and output formats. Lens metadata allows faster compositing by matching VFX elements to real images, which is particularly helpful for shots incorporating dynamic camera movements, when tracking

Easing tasks on set software is often out of its depth.

On the set, streaming lens metadata is used for an overlay in the ALEXA display, Metadata from any lens viewfinder or MON OUT image. In addition, it is utilized by the Wireless Compact Unit WCU-4 for an easy-to-use graphical lens display. The HD-SDI image carries In addition to more than 42 ARRI lens models with built-in LDS, it is possible to gather lens streaming lens metadata that can be displayed by a range of modern monitors or metadata from any lens by using the ARRI Lens Data Archive (LDA) function of the camera, in used for real-time virtual set applications. combination with either an ARRI Controlled Lens Motor (CLM) or ARRI Lens Data Encoder (LDE).

41 THE FLAGSHIP

At the pinnacle of the Super 35 format ALEXA range is the ALEXA SXT Studio, featuring a quiet, rotating mirror shutter with adjustable shutter angle and an optical viewfinder that provides real-time, high-contrast images. The ALEXA SXT Studio is a direct response to cinematographers’ requests for a camera that perfectly combines cutting-edge digital image acquisition with traditional elements of the film cameras they have known and trusted for generations.

42 ALEXA Studio viewfinder Mirror shutter

The optical viewfinder and mirror shutter truly distinguish the ALEXA SXT Studio A motorized ND filter slider adds to the high-end options, allowing the level of neutral from all other digital cameras on the market and have made it an immediate density filtration to be adjusted rapidly and thereby making daylight exteriors favorite with cinematographers. While the viewfinder provides the best possible easier and faster to shoot. Many of the world’s top filmmakers have appreciated the operating experience, the film-style spinning mirror shutter captures images in Studio’s connection with its celluloid heritage and have relied upon it when making the time-honored way and in doing so eliminates any rolling shutter artefacts. the transition from film to digital.

43 THE COMPANION

ALEXA Mini is a versatile additional tool in the ARRI ALEXA specialized shots and for working with gimbals and drones, the camera range, combining a compact and lightweight form ALEXA Mini perfectly complements a full ALEXA shooting kit factor with the same unparalleled image quality that has and allows crews to keep everything within a single system. made ALEXA a gold standard for the industry. Designed for

To maintain ARRI's famously rugged build quality in such a small camera body, unique design solutions such as environmentally sealed electronics, a lightweight carbon housing and a solid titanium PL mount have been incorporated. Nimble in use and hardy on set, ALEXA Mini can be operated by wireless remote control, as a normal camera with the ARRI MVF-1 multi viewfinder attached, or with an on-board monitor and controlled via the camera’s user button interface.

45 ARRI CAMERAS

AT A GLANCE

Camera model ALEXA Classic EV ALEXA XT EV ALEXA SXT EV ALEXA XT Plus ALEXA SXT Plus Base sensitivity EI 800 EI 800 EI 800 EI 800 EI 800 Exposure latitude 14+ stops over the entire sensitivity range (EI 160 - 3200) as measured with the ARRI Dynamic Range Test Chart (DRTC-1) In-camera processing 16 bit 16 bit 16 bit 16 bit 16 bit Sensor format 35 mm 35 mm 35 mm 35 mm 35 mm Sensor/recording modes 16:9 16:9, 4:3, Open Gate 16:9, 6:5, 4:3, 16:9, 4:3, 16:9, 6:5, 4:3, Open Gate Open Gate Open Gate Maximum number of recorded sensor photo sites 2880 x 1620 3414 x 2198 3424 x 2202 3414 x 2198 3424 x 2202 Frame rate 0.75 - 120 fps 0.75 - 120 fps 0.75 - 120 fps 0.75 - 120 fps 0.75 - 120 fps Weight (body and PL lens mount) 6.3 kg/13.9 lbs 6.4 kg/14.1 lbs 6.5 kg/14.3 lbs 6.9 kg/15.2 lbs 6.9 kg/15.2 lbs Viewfinder electronic electronic electronic electronic electronic In-camera recording ProRes, DNxHD ARRIRAW, ProRes, ARRIRAW, ProRes ARRIRAW, ProRes, ARRIRAW, ProRes DNxHD DNxHD Maximum frame rate ARRIRAW 60 fps (1) 120 fps 120 fps 120 fps 120 fps ARRI Look File 2 (3D LUTs & CDL) - - ● - ● In-camera recording to 4K UHD - - ● - ● In-camera recording to 4K Cine - - ● - ● In-camera recording to SxS PRO/SxS PRO+ cards ● ● ● ● ● In-camera recording to SXR Capture Drives - - ● - ● In-camera recording to XR Capture Drives - ● ● ● ● In-camera recording to CFast 2.0 cards - ● ● ● ● Independent monitoring outputs 3 2/3 (2) 4 2/3 (2) 4 (MON OUT/SDI and viewfinder) Accessory power outputs (12 V/24 V) 1/2 1/2 1/2 1/3 1/3 Audio line in line in line in line in line in Lens Data System - ● ● ● ● Integrated radio for wireless remote control - - - ● ● Multicam interface - - - - - Behind the lens ND filter - manual manual manual manual

46 Camera model ALEXA XT Studio ALEXA SXT Studio ALEXA Mini AMIRA ALEXA 65 Base sensitivity EI 800 EI 800 EI 800 EI 800 EI 800 Exposure latitude 14+ stops over the entire sensitivity range (EI 160 - 3200) as measured with the ARRI Dynamic Range Test Chart (DRTC-1) In-camera processing 16 bit 16 bit 16 bit 16 bit 16 bit Sensor format 35 mm 35 mm 35 mm 35 mm 65 mm Sensor/recording modes 16:9, 4:3, 16:9, 6:5, 4:3, 16:9, 16:9 1.50 Crop, 1.78 Crop, Open Gate Open Gate Open Gate Open Gate Maximum number of recorded sensor photo sites 3414 x 2198 3424 x 2202 3424 x 2202 3200 x 1800 6560 x 3100 Frame rate 0.75 - 120 fps 0.75 - 120 fps 0.75 - 200 fps 0.75 - 200 fps 20 - 60 fps Weight (body and PL lens mount) 8.2k g/18.1 lbs 8.2 kg/18.1 lbs 2.3 kg/5 lbs 4.1 kg/9.0 lbs 9.5 kg/21.0 lbs Viewfinder optical or electronic optical or electronic electronic electronic electronic In-camera recording ARRIRAW, ProRes, ARRIRAW, ProRes ARRIRAW, ProRes ProRes, MPEG-2 ARRIRAW DNxHD Maximum frame rate ARRIRAW 120 fps 120 fps 48 fps - 60 fps ARRI Look File 2 (3D LUTs & CDL) - ● ● ● - In-camera recording to 4K UHD - ● ● ● - In-camera recording to 4K Cine - ● - - - In-camera recording to SxS PRO/SxS PRO+ cards ● ● - - - In-camera recording to SXR Capture Drives - ● - - ● In-camera recording to XR Capture Drives ● ● - - ● In-camera recording to CFast 2.0 cards ● ● ● ● - Independent monitoring outputs 2/3 (2) 4 2/3 (3) 2/3 (3) 3 (MON OUT/SDI and viewfinder) Accessory power outputs (12V/24V) 1/3 1/3 - 3/1 1/5 Audio line in line in line in 4ch line & mic in, 48V line in Lens Data System ● ● ● ● ● Integrated radio for wireless remote control ● ● ● - ● Multicam interface - - ● ● - Behind the lens ND filter motorized motorized motorized motorized manual

All information as of SUP 11.1 (ALEXA Classic), SUP 11.1 (ALEXA XT/XR), SUP 1.0 (ALEXA SXT), SUP 4.1 (ALEXA Mini), SUP 4.1 (AMIRA) and SUP 1.0 (ALEXA 65).

(1) ARRIRAW recording on an external recorder via T-Link. (2) 3 independent outputs in 16:9, 2 independent outputs in all other sensor modes (3) some parameters can be set independently for SDI OUT 1 and SDI OUT 2

47 GLOBAL SERVICE AND SUPPORT FOR AN INTERNATIONAL INDUSTRY

ARRI products are renowned all over the world for their precision and durability. Nevertheless, ARRI values the trust of its customers in service and support as highly as their trust in the equipment itself. With service centers and support partners covering the entire globe, we are never too far away to provide the support you need, wherever you might be.

48 LONDON BERLIN MUNICH VIENNA LOS ANGELES TORONTO MILAN NEW YORK BEIJING

HONG KONG

SYDNEY

SAO PAULO

ARRI subsidiaries Over 50 service and support partners worldwide; contact details at www.arri.com

49 RELYING ON PARTNERS

Firefly CINEMA

fn POMFORT

ARRIRAW certification:

ARRI openly supports innovation in a rapidly changing market, working with the world’s best This label indicates that a device can CERTIFIED FOR hardware and software manufacturers to deliver high-quality, reliable products and file-based workflow reliably record ARRIRAW, including all solutions in support of the widespread adoption of the ALEXA camera system. RECORDING ALEXA metadata, and output *.ari files.

This ALEXA brochure (80.0012377) is published by Arnold & Richter Cine Technik, August, 2016 © ARRI/2016 Technical data and offering are subject to change without notice. All rights reserved. Without any warranty. Not binding 08/2016. ARRI is a registered trademark of Arnold & Richter Cine Technik GmbH & Co. Betriebs KG.

Cover photo: Yves Krier

50 STRENGTHEN YOUR KNOWLEDGE ARRI ACADEMY

Certified training courses, bespoke one-on-one tuition, masterclasses and close-up events

Visit the website to learn more Offering a wide range of multi-day training courses, individual sessions and educational events in different and book a training course: countries and languages worldwide, ARRI Academy is the best route for users of all abilities to gain hands-on www.arri.com/academy knowledge of ARRI products and workflows, and build their on-set confidence.

51 www.arri.com/alexa