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ARRI ALEXA Pocket Guide

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2. 0 8 dNS VX31v oipmis 1X uo jouo 101 7 1 sour awel4 TUM 10 02 S9ur 195 sn 2 A uo Jasf VPJ sejbuey2ay 0 191097 2 saul 129 aS 0 seur 10 00 snes 2614 punong 10 90 apo 10 40 ayeyoy 9 0 sseuyuBug 2 6601 7 198 26601 10109 asjej 14 22 pue 70096 AM NY 0001 L 10002 yas 757008 VSVO0ZE YSY091 ainsodxa 195 sux xav 0 98 0 G paads ufi 1 89 20 2 saynys 195 5477 59002 L 54 09 54 6 0 paads 10suas 195 suorun Uo Ng 9 8 nua 1 wn mri muri LM 1 7 155 Master Anamorphic Lenses ce lt Aperture Close Focus Length Length Dion 15 f Bulle Entrance Pupil Super 35 Cinemascope ID 29 26 mm Master Anamorphic 35mm T1 9 PLLDS 1 9 22 0 75 m 2 6 gt 183 7 2 235 9 3 95 3 7 114 4 5 2 6 5 7 65 47 29 91 178 8 mm 7 040 Master Anamorphic 40m
3. Jaquinu dijo 991 0 5 50 40 sq1 0 10710 31004129 3 0 1 1 2 ysew punong 5 0 punowns 4150 yewsojueas Z 9 6 z aawe lt lt 110 NOIN uonisod 7 1343 Bunead n Bunjead 020 00 01 20 40 uozuoy 200042913 40 00 Oyu 0 uyoouis 10 40 5 0 lt lt RETE nuau JNIYOLINOIN ewo Uesg 1015 110 NOW 10 159 mms gl m V 1S 981 227 woy 05 0 a 62 S2 02 9L6 z eveeueJ lt lt 1 0 238 pie SXS 95243 anug ainydeg pieg sxs 1euuoj yino ZZY 11 Z2v AXO4d 77 S940 lt lt eusaqu Note The only differences between ALEXA XT and the classic ALEXA can be found in the RECORDING menu This chart reflects the ALEXA XT s menu 9NIQH023H 9 SSUN aS nua 19502 1019eJ ay juose1dai 0 8 dNS VX3TV OIGNLS SN Td 40 8180 sua 995 xia SOT 19591 0 204 dnjas peo dnjas Juana anes MV 1 374 aqissod Ajuo ut jsbunjes 10 238 40 00 100 NOW uo eio 10 40 4A uo annoy 16601 e1eduio lt lt afew ani 0
4. sdige 6 6z Gz vc 916 z 9v 1291044 spie9 Sxs lt lt nua 3 p09 sp1e9 SxS lt 1 lt nua uonnjosa SxS 6 91 ex smanwrotanisix POW 108095 RE UE suorun sSurjas nua 12 0 10198 ay 1ueseJdai senjeA 0 8 dNS VX31V anjeA 5 22 pue 0095 NY 5100011 510002 9 901 602 938 1M 2901 602 238 100 0 901 602 238 1010238 2 901 60 939 VININV9 110 238 60 238 10 440 NO 3001 602 334 40 440 NO 4001 100 NOW 602 238 10 440 NO 7007 _ 102 185 102 ixvanv dNO2 109 Aq Yoo 227 UV T yoo 500 2 1001 135 2401027 10 10 oranisvoranis 1x anv H3LETI ON 7577008 vsvooze 5 091 80 0 oranis oranis 1x vxanv HOHHTIA aui ainsodxa pajejnajea aas anjeA ajajap ppe SH X vxanv le0 96 0 G peedsufiu SZLI 50946 09 YALLNHS pa adey 92105 2 1 jauueyg Aun enue 2 1 jauueyg 90 10 p1o38y SNOILdO Ayun 110 olpny UON Z LH ZHI H9
5. Description Zoom 55 105 Serial Number 652345 Focal Length o Q FOCUS Q Q IRIS f Q3 Q9 B 2 CEDE 574 Sendto Camera Download from Camera T AR 79 mm Data Point Options Each data point can have up to three characteristics that have effects on display and interpolation of the lens table Inactivated options are displayed in grey color and crossed out A Data point will be indicated with a marking line Data point will be indicated with a number Data point will be used for interpolation Recommended Practice All three options are usually active with focus scales However there are sometimes just the engraved marking lines without any number in the close focus area If you are unsure about the numerical value of such a mark you can switch off the usage for interpolation of this data point Zoom scales usually do not have marking lines and they are displayed without marking lines on an LDD FP display as well So you might want to switch off marking lines for zoom values Intermediate iris steps can be programmed with a marking line only without a number and without being used for interpolation Special Lens Values Special lens values such as infinity for focus and close for iris are being entered by using their initial letters Il for Infinity and for Close Feet Scales You can enter feet values by using the pr
6. 37 64 59 66 43 51 33 35 52 98 39 33 30 02 48 04 34 73 26 46 42 52 28 26 21 32 35 13 21 59 16 58 27 00 18 82 14 20 23 39 14 25 10 72 17 79 10 73 8 07 13 40 9 65 7 26 12 03 Entrance Pupil 208 3 mm 8 2 189 3 mm 7 4 158 8 mm 6 2 154 9 mm 6 1 149 3 mm 5 8 135 9 mm 5 3 136 7 mm 5 4 128 4 mm 5 0 126 9 4 9 119 5 mm 4 7 136 1 mm 5 3 107 3 mm 4 2 102 5 4 0 57 2 mm 2 2 29 9 mm 0 098 89 0 mm 3 5 For Annotations see Page 114 data is subject to change without notice 741 ari Zeiss Distagon 17 40 1 wn wn 65 H M 1 7 155 Ultra Prime Lenses Pa Lens Front 7 5 Mount Aperture Close Focus Length Diameter Weight Horizontal Angle of View Entrance pupil Normal 35 DIN Super 3519 ANSI Super 3511 ID 27 20 mm ID 30 00 mm ID 31 14 mm Ultra Prime 8R PL T2 8 to T22 0 35 13 8 130 mm 5 1 134 mm 5 3 2 0 Kg 4 4 Ib 107 0 112 0 114 0 155 2 mm 6 1 Ultra Prime 12 PL T2 0 to T22 0 30 11 8 140 mm 5 5 156 mm 6 1 2 0 Kg 4 4 Ib 85 29 90 29 92 6 113 4 mm 4 4 14 PL T1 9 to T22 0 22 m 8 7 112 mm 4 4 114 mm 4 5 1 8 Kg 4 0 Ib 75 6 80 6 82 6 91 3 3 5
7. 20 2 33 6 29 6 16 9 33 7 31 4 18 35 8 299 22 6 36 9 222 6 mm 8 8 at 30 mm 40 3 29 9 48 8 43 2 25 1 48 9 45 8 26 7 51 7 43 6 33 4 53 1 219 3 mm 8 6 Alura Zoom 30 80 PLLDS 30 80 2 7 2 8 22 0 6 m 2 0 1 4 9 228 mm 9 0 114 mm 4 5 114 4 5 2 2 Kg 4 9 Ib at 50 mm 24 8 18 2 30 4 26 7 15 2 30 5 28 4 16 2 32 4 27 20 4 33 4 201 0 mm 7 9 at 80 mm 15 7 11 4 19 3 16 9 9 6 19 3 18 10 2 20 6 17 19 12 8 21 2 187 4 mm 7 4 at 18 mm 62 8 48 0 74 1 67 4 53 1 79 6 66 8 40 7 74 3 70 3 43 2 77 9 264 0 mm 10 4 Alura Zoom 18 80 18 80 4 4 T2 6 T22 0 7 m 2 4 080 285 11 2 134 5 3 134 5 3 4 7 Kg 10 4 Ib at 50 mm 24 8 18 2 30 4 27 0 20 4 33 4 26 7 15 2 30 5 28 4 16 22 32 4 231 6 9 1 at 80 mm 15 6 11 4 19 3 17 1 12 8 21 2 16 9 9 5 19 3 18 0 10 2 20 6 213 9 mm 8 4 at 45 mm 27 5 20 2 33 6 29 9 22 6 36 9 29 6 16 9 33 7 31 4 18 0 35 8 234 4 9 6 Alura Zoom 45 250 PL 45 250 5 6 T2 6 T22 12 311 1 4 370 mm 14 6 134 5 3 153 6 7 5 Kg 16 5 Ib at 150 mm 8 4 6 1 10 4 9 1 6 9 11 4 9 1 5 1 10 4 9 7 4 11 1 2 0 mm 0 1 at 250 mm 5 0 3 7 6 2 5 5 4 1 6 9 5 4 3 1
8. 6 Monitor Output Image Processing Synchronization 2x MON OUT BNC connector on ALEXA Plus Plus 4 3 and Studio for uncom Playback pressed 1 5G HD SDI video 1920 x 1080 16 9 4 2 2 YCbCr all legal range ALEXA and ALEXA M offer 1x MON OUT 16 bit linear internal image processing Target color spaces for ProRes DNxHD 220x REC OUT and MON OUT Log C and Rec 709 Target color space for DNxHD 145 Rec 709 For Rec 709 a customized look can be applied during record and playback with ARRI Look Files Optional horizontal image mirroring Master Slave mode for precision sensor sync synchronized settings process Audio ing HD SDI outputs and QuickTime ProRes or MXF DNxHD recording for 3D applications Automated sync of lens settings for 3D applications in Master Slave mode ALEXA QuickTime ProRes or MXF DNxHD playback from SxS PRO cards to EVF 1 MON OUT and REC OUT Playback audio embedded in the MON OUT and REC OUT signals and on the headphones jack ALEXA XT Series ARRIRAW OuickTime ProRes or MXF DNxHD playback from XR Capture Drive or QuickTime ProRes or MXF DNxHD playback from SxS PRO card to EVF 1 MON OUT and REC OUT Playback audio embedded in the MON OUT and REC OUT signals and on the headphones jack 1x XLR 5 pin AUDIO IN connector for 2 channel line level balanced audio input 24 bit 48 kHz A D conversion works at 23 976 24 25 29 97 and 30 fps Audio is recorded uncompressed into the QuickTime ProRes or
9. 6 2 5 8 3 3 6 7 101 5 4 0 For Annotations see Page 114 data is subject to change without notice 741 ARRI FUJINON Alura LDS Extender Name Alura LDS Extender 1 4x Alura LDS Extender 2 0x Weight 300 g 0 66 Ib 530 g 1 17 Ib Diameter without knobs 77 mm 3 03 77 mm 3 03 Length mm without knobs 44 mm 1 73 60 mm 2 36 Combining the Alura Zomms with Alura Extenders Alura Zoom Alura 15 5 45 T2 8 Alura 15 5 45 T2 8 Alura 30 80 T2 8 Alura 30 80 T2 8 Alura 18 80 T2 6 Alura 18 80 T2 6 Alura 45 250 T2 6 Alura 45 250 T2 6 Alura Extender Alura LDS Extender 1 4x Alura LDS Extender 2 0x Alura LDS Extender 1 4x Alura LDS Extender 2 0x Alura LDS Extender 1 4x Alura LDS Extender 2 0x Alura LDS Extender 1 4x Alura LDS Extender 2 0x Extender 20 ARRI FU a L ns Only j Resulting Combination Alura 22 63 T4 0 Alura 31 90 T5 6 Alura 42 112 T4 0 Alura 60 160 T5 6 Alura 25 112 T3 7 Alura 36 160 T5 2 Alura 63 350 T3 7 Alura 90 500 T5 2 wn wn ma ARRI ZEISS Master Macro Lens a Aperture Close Focus Length E 5 Weight Horizontal Angle of View Normal 35 DIN Super 3519 ANSI Super 35 ID 27 20 mm ID 30 0
10. Lock Camera is locked Name SD Card Grab High Humidity Mode WRS Radio B Lig Description SD Card present Turns orange during card access Still frame is being captured to the SD card A new still frame can only be captured when this is completed Sensor is in high humidity mode 40 C sensor tem perature Should only be used in very humid conditions e g indoor swimming pool WRS radio is active Only on ALEXA Plus and Studio MIRROR PARK VIEW GATE ALEXA Studio left side Additional buttons VIEW amp GATE for mirror control E E gt E E 2 i MON OUT Icons FPS 24 000 BAT 124 8V BAT 215 5V WB 5600 CC 0 5 5 128 MIN Name General Warning General Error Temperature Warning Temperature Error Lock Grab Icon n oo Description Name Important information Peaking waiting on the info screen Press the INFO button for more details An error occurred Recording Press the INFO resolution button for more details Slight sensor temperature offset Image quality might Gamma be affected Great sensor temperature offset Image quality might Look active be affected seriously Home screen is locked Stil frame is being captured to the SD card A new still frame can only be captured when this is completed Return IN Smooth mode SMTH Smooth mode active on EVF Icon Description PEAK Peakin
11. 1920 1080 1920 1080 0 75 60fps 60 120fps Sensor Mode 4 3 2K ProRes 2048x1152 0 75 60fps 2048x1536 0 75 48fps External recording via T Link External recording via HD SDI ARRIRAW HD uncompressed uncompressed 2880x1620 0 75 60fps 1920x1080 0 75 60fps 2880x2160 0 75 48fps E E gt ALEXA XT Output Overview E im gt 2x MON OUT mem HD SDI 16 9 mum HD SDI 16 9 2x REC OUT ARRIRAVV m f 16 9 or 4 3 1x XR Capture Drive 1x XR Capture Drive Quicktime 16 9 HD or 1x SxS card or 16 9 4 3 2 16 9 HD HD SDI with information overlay Clean image uncompressed ProRes Proxy ProRes 422 LT ProRes 422 ProRes 422 HQ ProRes 4444 DNxHD 145 DNxHD 175 DNxHD 444 feature available in a later SUP ALEXA Output Overview 2x REC OUT TLink m ARRIRAW uncompressed 16 9 or 4 3 HD SDI ss HD uncompressed 16 9 4 4 4 or 4 2 2 1or2x MON OUT s HD SDI 16 9 ss HD SDI with 2x SxS Cards Quicktime HD 2K 16 9 or 4 3 MXF 16 9 HD information overlay ProRes Proxy ProRes 422 LT ProRes 422 ProRes 422 HQ ProRes 4444 DNxHD 145 DNxHD 175 DNxHD 444 1 feature available in a later SUP gt E gt gt ARRIRAW uncompressed ARRIRAW data delivers uncompromised image quality from an ALEXA camera It offe
12. 2 13 4 0 5 LDS Ultra Prime 65 PLLDS 1 9 40 22 0 65 m 25 6 91 mm 3 6 104mm 4 1 14Kg 2 1lb 19 2 21 0 21 8 19 0 mm 0 7 LDS Ultra Prime 85 PLLDS T1 9toT22 0 90m 35 4 91 mm 3 6 104mm 4 1 15Kg 33lb 15 2 16 5 17 1 3 5 mm 0 1 LDS Ultra Prime 100 PLLDS T1910 T22 1 00m 39 4 91 mm 3 6 104mm 4 1 15Kg 33lb 12 6 13 7 13 9 124 mm 0 4 LDS Ultra Prime 135 PLLDS T1910 T22 1 50m 59 1 119 4 7 104mm 4 1 20Kg 44lb 9 3 10 2 10 5 56 9 mm 2 2 LDS Ultra Prime 180 PLLDS T1 9toT22 2 60m 1024 166mm 6 5 114mm 4 5 2 8Kg 6 2 Ib 7 0 7 6 7 9 19 7 mm 0 7 Gor Annotations pags 114 data is subject to change without notice 741 741 ARRI FUJINON Alura Zooms Lenses Siu UE Ha Aperture E Length Ens a Weight Focal Length Angle of view H V D Entrance pupil Normal 35 DIN Super 3519 Alexa D 21 HD Alexa 2 ID 27 20 mm ID 30 00 mm ID 27 26 mm ID 29 08 mm at 15 5 mm 70 7 54 6 82 5 74 9 46 7 82 7 78 5 49 4 86 3 75 5 60 3 88 1 237 0 mm 9 3 Alura Zoom 15 5 45 PLLDS 15 5 45 2 9 72 8 T22 0 6 m 2 0 1 8 1 228 9 0 114 4 5 114 4 5 2 2 Kg 4 9 Ib at 25 mm 47 5 35 5 57 1 50 8 29 9 57 2 53 8 31 8 60 4 51 3 39 6 61 9 230 9 9 1 at 45 mm 27 5
13. Footage CDL values embedded in file header ALE Color Grading CDL values with time code in ALE file 2 Transport Look CODEX VFS generate deliverables for dailies and mastering ARRIRAW Footage CDL values embedded in file header ith ALEXA ing wi ie ith ALEXA ing wi i Legal and Extended Range A 10 bit legal range signal uses digital code values 64 to 940 to represent the camera s full contrast range from black to white In an extended range sig nal the same range is represented by code values 4 to 1019 Extended range encoding does not provide a higher dynamic range nor does legal range encod ing limit the dynamic range that can be captured It is only the quantization the number of lightness steps between the darkest and brightest image parts that is slightly increased about 0 2 bits The same applies for 8 bit 0 256 range or 12 bit 0 4096 range signals An ALEXA always records ProRes and DNxHD clips using legal range encoding as required by the codec specifications Most editing or post produc tion tools automatically transform the legal range files to e g computer graphics RGB full range 0 1024 for display Note Some recorders will allow to record e g ProRes clips in extended range If this material is brought into FCP for example the application displays values outside the legal range as super black and superwhite but as soon as an
14. MXF DNxHD files and embedded uncompressed in all HD SDI outputs including ARRIRAW T Link Max of 2 5 dBm output from AUDIO OUT headphones connector i ce cs co wn 2 pm fas Qa Connectors SD Card For importing ARRI Look Files camera set up files frame line files feature 5 license keys and custom lens tables for the Lens Data Archive LDA also used 5 a Connector type Name ALEXA XT Plus 4 3 AEA M M XT M for installing software update packets SUPs Stores captured stills from the 500 REC OUT image path in ARRIRAW ari 12 bit TIFF tif 16 bit DPX dpx 10 5 BNC recording out HD SDI 1 5G 3G REC OUT 1 2 2 2 bit and JPEG 8 bit format as well as logging files 5 5 BNC monitoring out HD SDI 1 5G MON OUT 1 1 5 AUDIO IN 1 1 1 Upgrades The Storage Interface Module currently available for SxS PRO cards or XR BNC return signal HD SDI 1 56 RET SYNCIN 1 1 1 Capture Drives be exchanged future storage modules The Electronics 5 LEVO 19 EXT 1 1 1 Interface Module available as either regular ALEXA or ALEXA Plus versions 5 Fischer 2 pin 24 V power in BAT 1 1 1 1 can be exchanged for future control electronics Exchangeable Lens Mount E Fischer 3 pin 24 V remote start and accessory power out RS 2 3 2 2 ELM allows other lenses beyond PL mou
15. PL LDS PL LDS PL LDS PL LDS PL LDS PL LDS PL LDS PELDS PL LDS PL LDS PL LDS PL LDS PL LDS PL LDS PL LDS Aperture 7122 T1 3 T22 T1 3 T22 T1 3 T22 T1 3 T22 T1 3 T22 T3 T22 T1 3 T22 1 3 T22 1 3 T22 1 3 T22 1 3 T22 1 3 T22 1 3 T22 1 3 T22 1 3 T22 ARRI ZEISS Master Prime Lenses Close Focus 0 40 m 16 0 35 14 0 35 m 14 0 35 m 14 0 35 m 14 0 35 14 0 35 m 14 0 35 m 14 0 35 m 14 0 40 m 16 0 50 m 20 0 65 m 2 3 0 80 m 279 1 00 m 3 6 0 95m 3 3 1 50 m 4 11 Magnification Ratio 1 16 5 1 11 7 Tess 1 11 0 1 9 5 1 8 6 1 7 8 17 1 1 6 4 1 7 0 1 7 0 1 8 2 1 8 9 1 8 9 1 6 6 1 10 3 Length 197 mm 7 8 172 mm 6 8 153 mm 6 153 mm 6 153 mm 6 153 mm 6 153 mm 6 153 mm 6 153 mm 6 153 mm 6 153 mm 6 153 mm 6 153 mm 6 153 mm 6 172 mm 6 8 210 mm 8 3 Front Diameter 156 6 1 114 4 5 114 4 5 114 4 5 114 mm 4 5 114 mm 4 5 114 4 5 114 mm 4 5 114 mm 4 5 114 4 5 114 4 5 114 4 5 114 4 5 114 mm 4 5 114 mm 4 5 134 mm 5 3 Maximum Housing Diameter 159 mm 6 3 128 mm 128 mm 5 128 mm 5 128 mm 128 mm 5 128 mm 5 128 mm 5 128 mm 5 128 mm 5 128 mm 5 128 mm 5 128 mm 5 128 mm 5 128 mm 5 137 m
16. body is required to power the camera head from the body through a standard SMPTE hybrid cable up to 50 meters without acces sories The camera head has one 10 5 to 34 V DC power input that can be used to power the head independently form the camera body 12 V connector limited to 12 V up to 2 2 A RS EXT and ETHERNET input below 24 V is regulated up to 24 V above 24 V input output voltage Both RS and EXT connectors combined up to 2 2 A ETHERNET up to 1 2 A Maximum power draw is also limited by the power source The camera head on the ALEXA M offers two RS connectors and one ETHERNET connector with the same specifics as on the camera body Camera Model Camera Body With Accessories ALEXA with SxS Module 6 3 kg 13 8 Ib 7 7 kg 16 9 Ib ALEXA XT with XR Module 6 6 kg 14 5 Ib 8 0 kg 17 6 Ib ALEXA Plus Plus 4 3 with SxS Module 7 0 kg 15 4 Ib 8 4 kg 18 5 Ib ALEXA XT Plus with XR Module 7 3 kg 16 1 Ib 8 7 kg 19 2 Ib ALEXA Studio with SxS Module 8 0 kg 17 6 Ib 10 2 kg 22 5 Ib ALEXA XT Studio with XR Module 8 3 kg 18 3 Ib 10 5 kg 23 1 Ib ALEXA M XT XT M Head 2 9 kg 6 39 Ib ALEXA M Backend 5 5 kg 12 Ib ALEXA XT M Backend 5 8 kg 12 8 Ib 1 EVF 1 with Viewfinder Mounting Bracket VMB 1 viewfinder cable and Center Camera Handle CCH 1 Accessories for ALEXA Studio XT Studio OVF 1 and CCH 1 t co wn 2 co D Qa
17. ce wn 2 Ld f A Dimensions ALEXA ALEXA XT ALEXA Plus Plus 4 3 ALEXA XT Plus ALEXA Studio ALEXA XT Studio ALEXA M Head ALEXA M Backend ALEXA XT M Head ALEXA XT M Backend Lens Mount Flange Focal Depth Length 332 mm 12 95 width 153 mm 6 02 height 158 mm 6 22 Length 332 mm 12 95 width 161 mm 6 33 height 158 mm 6 22 Length 332 mm 12 95 width 175 mm 6 89 height 158 mm 6 22 Length 332 mm 12 95 width 183 mm 7 20 height 158 mm 6 22 With OVF 1 Length 402 mm 15 83 width 268 mm 10 55 height 241 mm 9 49 With OVF 1 Length 402 mm 15 83 width 268 mm 10 55 height 241 mm 9 49 Length 212 mm 8 35 width 129 mm 5 08 height 149 mm 5 87 Length 323 mm 12 72 width 153 mm 6 02 height 158 mm 6 22 Length 212 mm 8 35 width 129 mm 5 08 height 149 mm 5 87 Length 323 mm 12 72 width 161 mm 6 33 height 158 mm 6 22 Detailed drawings can be found in the ALEXA Dimensions PDF document on our website at http Awww arri com alexa downloads ARRI Exchangeable Lens Mount ELM ships with Lens Adapter PL Mount with LDS contacts 54 mm stainless steel PL mount Super 35 centered All models but Standard ALEXA are outfitted with a Lens Data Mount 52 00 mm nominal Viewfinder Low latency lt 1 frame delay electronic color viewfinder ARRI EVF 1 with 1280 x 784 F LCOS micro display image 1280 x 720 status bars 1
18. removed from the camera We also recommend that a first quality control should ideally happen on location With digitally captured footage being viewable immediately after recording potential problems can be spotted right away and re shooting a scene will be less of a problem Also check the conditions of your completion bond it is not unusual that LTO backups are a mandatory requirement for the footage to be covered Recording with the XR or SxS Module Camera Setup The following steps are necessary to prep the camera for recording 1 Start your initial camera setup by pressing MENU going to User Setups Factory reset and press both soft buttons to confirm Note that ARRI Look Files and Custom Frame lines need to be uploaded again after a factory reset 2 Enter the PROJECT screen using the shortcut on the bottom right Select a sensor mode to shoot in 16 9 or 4 3 aspect ratio Pick a recording resolution and codec or switch to ARRIRAW recording Setthe project frame rate which also acts as timecode base and playback frame rate Assign an individual camera index when shooting with more than one camera unit Next reel count usually starts with 001 and automatically increments when the camera starts recording to a new card or drive 3 Press TC and enter the timecode OPTIONS Assuming we ll get timecode from the Production Sound Mixer Set Source to Ext LTC and verify that Mode is set to F
19. 0 mm ID 31 14 mm Master Macro 100 mm T2 0 PL LDS 2 0 14 3 to 132 0 35 m 13 3 4 1 1 210 0 8 27 114 4 5 2 6 kg 5 7 Ibs 12 42 13 52 14 02 without Annotations Operation Temperature 20 C to 40 4 F to 104 F Storage Transport Temperature 40C to 70 C 40 F to 158 F Positive locking PL 54mm stainless steel lens mount on some models with Lens Data System LDS contacts 2 Close focus is measured from the film sensor plane 3 Magnification ratio is the relationship of the size of an object on the film sensor plane first number to the size of that object in real life second number at the close focus setting on zoom lenses also at the telephoto zoom setting for Master Anamor phic Lenses horizontal H and vertical V 4 Length is measured from the lens mount to the front of the lens housing 5 Diameter of the lens matte box interface Maximum lens housing diameter for the Master Macro 100 is 138 mm 6 The distance from the entrance pupil to the film sensor plane at focus infinity Positive numbers indicate an entrance pupil in front negative num bers indicate an entrance pupil behind the film sensor plane The entrance pupil often mistakenly called nodal point is the center of perspective moving the camera lens system around the center of the entrance pupil prevents parallax errors While larg
20. 02 5 JA3 JA3 smeis 4 3 saul JA3 400 JA3 punons JA3 10 02 saul auieJJ DS9p NON 110 NOW 10 02 asje INO NOW oyu smeis INO NOW saul 110 NOW 1001 110 NOW 110 NOW punouns 10 NOW 8UON BETTE NOLLN suomun sSumjas nua 1 2 0 2 1 Wax 010015 HdHOIAVNV IX VX3IV 559226 peo 15 8313s MAU 0 sped nuaw 18sa1 A1032 ajqissod 0 8 dS QN3931 19501 eui 1ueseJdei 0 8 dns VX31V 5 8 4 3 uo SUONNG 94 5020 05 OANI pue 21 AV Td T1N3IALN3342S3 AIDH 420 3301 NOLLNG 51191980 195 5114195 EU181U 21 0 yq sasn an 334 2111x3 31U 21 0 1 vnNVIN L3S38 3WILL 01 13S 21 13S u 19S JdOJJNIL 544 WALSAS 509 5 5 NOISH3A 05 01 3 5 SAN NOLIVINHOJNI IN31SAS suorun 9 sSurjas nua 2 19502 1019eJ ay juese1dai 0 8 dNS VX3TV SAI lt WALSAS IN PU N 1X VX3TIV 1010 TV 31VHgI1V2 31VU8I1V29 8 719 Aj
21. 16 PL 1 9 to T22 0 25 9 8 94 3 7 95 3 7 1 2 Kg 2 6 Ib 70 8 73 0 75 2 85 1 mm 3 3 Ultra Prime 20 PL T1 9 to T22 0 28 m 11 91 3 6 95 mm 3 7 1 2 Kg 2 6 Ib 58 4 62 8 65 0 73 3 mm 2 8 Ultra Prime 24 PL 1 9 to T22 0 30 11 8 91 3 6 95 3 7 1 0 Kg 2 2 Ib 50 2 54 29 55 8 67 4 2 6 Ultra Prime 28 PL T1 9 to T22 0 28 m 11 91 mm 3 6 95 mm 3 7 1 0 Kg 2 2 Ib 43 29 46 8 48 4 67 3 mm 2 6 Ultra Prime 32 PL 1 9 to T22 0 35 13 8 91 3 6 95 3 7 1 1 Kg 2 4 Ib 38 2 41 6 43 0 61 1 mm 2 4 Ultra Prime 40 PL T1 9 to T22 0 38 m 15 91 3 6 95 mm 3 7 1 0 Kg 2 2 Ib 30 6 33 2 34 7 59 2 mm 2 3 Ultra Prime 50 PL T1 9 to T22 0 60 m 23 6 91 mm 3 6 95 3 7 1 0 Kg 2 2 Ib 24 0 26 2 27 2 13 4 mm 0 5 Ultra Prime 65 PL T1 9 to T22 0 65 m 25 6 91 3 6 95 3 7 1 1 Kg 2 4 Ib 19 2 2102 21 8 19 0 mm 0 7 Ultra Prime 85 PL 1 9 to T22 0 90 m 35 4 91 mm 3 6 95 mm 3 7 1 2 Kg 2 6 Ib 15 2 16 5 17 19 3 5 mm 0 1 100 PL T1 9 to T22 1 00 m 39 4 91 3 6 95 3 7 1 2 Kg 2 6 Ib 12 6 13 7 13 9 12 4 0 4 Ultra Prime 135 PL 1 9 to T22 1 50 m 59 1 119 4 7 95 3 7 1 6 Kg 3 5 Ib 9 3 10 29 10 5 56 9 mm 2 2 Ultra Prime 180 PL T1910T22 2 60m 102 4 166mm 65 114mm 45 26Kg 5 7 lb 7 0 7 6 7 9 197 0 7 For Annotat
22. 1no N Z 1H9 7 2 1H3 1n0 437 SNOILdO seuoug 110 Olanv Aum 01 02 ZH3 1snfpe 01 02 13491 LH 3snfpe 00 26 62 SZ 92 91622 110 NOW 006 76 60 50 YZ 91622 LNO 938 lt lt 543 105 SQHV2 555 lt O4NI OJNI SXS Squv3 5 5 lt 9NIQHO23U lt nIN3IN 23009 SXS 89021 09 8 SH 0 1000 sup vans SH LIX3 O33d4SH8IH ajajap ppe 54172 sh x 89017 54109 54 6 70 EEG sSurjas nua 2 19501 eui uese1dei 0 8 dns VX31v p129 qS 0 anes Gr 195 9 9 501190 15 4 2 01 apis 5 10 0 XZ AY Td 10 55810 Ayo 158 40 284 844 1215 99195 EPA 5 5 5 10N 1x 123104 10J02 9514 5188 1010 10 02 saul awel annoe ui uingag ynys Nbsap NO IA 110 NOW 1002 951 110 NOW 511845 110 NOW saul awed 110 NOW 1001 110 NOW 110 NOW punouns 110 NOW 8UON 9 G p uong 195 119 qe 5180 1007 8M ony dijo dip 152 9942 SxS 9 66 15 vxatyx NbS p 4 3 Bunjead 10
23. 20 from HD to 2K the captured aperture changes from applications please take a look at the ProRes 2K in ProRes is a variable bit rate codec The actual data rate varies with the image content ProRes 4444 provides an alpha channel which is not used by the ALEXA 3 All speeds adjustable with 1 1000 fps precision 2880 pixels 23 76 mm 0 935 width to 2868 pixels 23 66 mm 0 932 width This allows the use Editorial white paper available at www arri com alexa downloads gt DNxHD The ALEXA and ALEXA XT cameras allow in camera recording of 1920 x 1080 16 9 DNxHD encoded MXEF files onto SxS PRO cards1 With an installed DNxHD license ALEXA users can choose between MXF DNxHD or OuickTime ProRes recording codecs ALEXA s MXF DNxHD material can be edited in Avid Media Composer Version 5 5 and later without transcoding The Material eXchange Format MFX is a core media container technology for nonlinear workflows An MXF container file can wrap different types of video and audio material along with associ ated metadata The internal structure of MXF files is defined by the so called Operational Patterns ALEXA cameras record DNxHD encoded images together with sound and embedded metadata in an MXEF container file using the Operational Pattern 1a OP1a file structure An Avid Media Composer does not need to transcode this material as it already is available in a native DNxH
24. 280 x 32 above and 1280 x 32 below image and ARRI LED illumination both temperature con trolled Image can be flipped for use of viewfinder on camera left or right View finder Mounting Bracket allows movement of viewfinder forward backwards left right up down 360 degree rotation and placement on camera left or right EVF 1 controls viewfinder and basic camera settings ZOOM button 2 25x pixel to pixel magnification EXP button false color exposure check and jog wheel ALEXA Studio Optical viewfinder OVF 1 shows a bright high contrast image for through the lens viewing with low distortion accurate color fidelity and no delay Can be used camera left or right and the viewfinder arm telescopes closer farther from the camera body Automatically keeps an upright image in all positions with an optional override for manual image rotation Includes a flip in ND 0 6 contrast filter and 2x de squeeze module for 2x anamorphic lenses lenses can also be retrofitted with a 1 3x de squeeze module Includes Basic Insert Module BIM 1 for RGB frameglow Accepts 8x and 10x 435 eyepieces 435 eyepiece extensions and heated eyecups With the optional ARRICAM Eyepiece Adapter AEA 1 the OVF 1 can accept the 8x ARRICAM Studio eye piece ARRICAM Studio Viewfinder Extension Medium and ARRICAM Studio Viewfinder Zoom Extension Not compatible with Lite Universal Eyepiece Can be replaced with the ALEXA Electronic Viewfinder EVF 1 by using the Electronic Viewfinde
25. 2K HD or DNxHD recording the drives are initialized like SxS PRO cards as a UDF volume This provides 240 GB storage capacity which equals over 100 minutes of 16 9 ProRes 4444 in 2K at 24 fps Using the UDF codex j file system maintains an overall compatibility to the established ALEXA ProRes DNxHD workflows Capture Drives or SxS PRO cards containing ProRes 2K HD or DNxHD material can be accessed directly with the file names and directory structure in the known order MAIN The most affordable solution to access Capture Drives is the Single Dock a USB 3 Dock that will hold one drive Uncompressed ARRIRAW When the camera records ARRIRAW the Capture Drives are initialized for use with the Codex Virtual File System which provides 480 GB of storage capacity or about 45 minutes of 16 9 ARRIRAW 2 8K These drives can be accessed using a Single Dock or preferably the more powerful Dual Dock 2 drive bays and faster SAS connection using a Codex software running on a Mac Codex also offers STORAGE SETUP OP Configuration Backup and Dailies EXE a standalone turnkey system called Vault for assisted location based data management When a Capture Drive with footage is loaded the contents are presented through the Codex Virtual File System VFS The VFS can present various file formats such as readily processed DPX files and Avid DNxHD proxies next to the original ARI files on drive E
26. 5 48 alternative to shooting ARRIRAW as it requires less both 2880 and 2868 pixels width to deliver an exact ProRes 422 LT 16 9 2048 x 1152 10 bit YCbCr 100 45 0 75 60 storage space and no processing but at the same match to ProRes 2K footage when ARRIRAW was 16 9 1920 x 1080 10 bit YCbCr 90 40 0 75 120 time delivers an image quality that is superior to that recorded in parallel with ProRes 2K 4 3 2048 x 1536 10 bit YCbCr 190 87 0 75 48 of up scaled HD material With the option to capture ProRes 422 16 9 2048 x 1152 10 bit YCbCr 140 65 0 75 60 ProRes 2K in the 4 3 aspect ratio the format offers 1 4 3 ProRes 2K is available on all ALEXA and ALEXA 16 9 1920 x 1080 10 bit YCbCr 125 57 0 75 120 true anamorphic capture with regular 2 1 anamor XT models except for ALEXA and ALEXA Plus 4 3 2048 x 1536 10 bit YCbCr 280 130 0 75 48 phic lenses and offers extra room for repositioning This only applies to ALEXA cameras with the SxS ProRes 422 HO 16 9 2048 x 1152 10 bit YCbCr 210 98 0 75 60 when using standard spherical lenses Module ARRIRAW T Link output is not available in 16 9 1920 x 1080 10 bit YCbCr 185 85 0 75 120 conjunction with the XR Module 4 3 2048 x 1536 12 bit RGB 425 195 0 75 48 ProRes 2K Image Aperture ProRes 44442 16 9 2048 x 1152 12 bit RGB 320 146 0 75 60 When the ProRes recording resolution is switched For more information on using ProRes 2K in different 169 1920 x 1080 12 bit RGB 280 128 075 1
27. 5 GB h 1 Recording 4 3 ARRIRAW 2 8K on XR Capture Drives is limited to 48 fps in SUP 8 0 96 fps is planned for a future software update 2 All speeds adjustable with 1 1000 fps precision Overview fps Range 0 75 96 0 75 120 E gt ARRIRAW Converter 3 0 The ARRIRAW Converter ARC is a free software solution that reads displays and renders ARRIRAW files since its first occurrence back in 2005 Right now the ARC is undergoing a complete overhaul A totally new user interface in combination with a feature rich tool palette will offer a more intuitive use and better when working with ARRIRAW footage ARRI will show a sneak preview at NAB 2013 fol lowed by a beta test in the later this year ARRIRAW Converter is and will be available for Mac OSX Windows operating systems ARRIRAW capable software solutions A product which has been awarded gu the ALEXA ARRIRAW Processing ARRI Certificate is capable of rendering ALEXA ARRIRAW images in ARRIRAW a quality that meets ARRI s PROCESSING requirements Please note that for CERTIFIED FOR ALEXA all image processing parameters such as sharpness color etc the ARRI SDK which is also part of the ARRIRAW Converter is the reference You can find more information about working with ARRIRAW at www arri com alexa workflow Further documents covering ARRIRAW and other topics such as the ALEXA VFX FAQ is ava
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29. ARRI SUP 8 0 wn pm t 2 5 Table of Contents Overview Introduction The new ALEXA camera range ALEXA XT The Home Screen Home Screen Soft Buttons Icons on Home Screen MON OUT Icons Recording Media Output Overview ARRIRAW uncompressed ARRIRAW Converter 3 0 ARRIRAW capable software solutions ProRes Recording DNxHD Exposure Index 25 Working with ND filters Precision FSNDs in comparison False Color Exposure Check Working with ALEXA Color Spaces Video Rec 709 Log C Linear ARRI LUT Generator In Camera Look Files Legal and Extended Range p and psf Metadata Overview Licenses 32 34 35 36 36 36 38 39 39 40 46 47 48 50 ALEXA Preshoot Checklist Recording with the XR or SxS Module Additional notes Shooting Highspeed Recording ARRIRAW via T Link Shooting Stereo 3D ALEXA M fiber maintenance Creating Lens Tables Required Equipment Creating a Lens Table ALEXA XT XR Workflows Compressed Recording Formats Uncompressed ARRIRAW Generating Deliverables Scaling your Workflow 52 53 55 55 55 57 57 58 59 60 64 64 64 67 69 Specifications and Reference Menu Settings amp Button Functions ARRI Lenses ARRI ZEISS Master Anamorphic Lenses ARRI ZEISS Master Prime Lenses ARRI ZEISS Ultra Prime Lenses ARRI ZEISS LDS Ultra Prime Lenses ARRI FUJINON Alura Zoom Lenses ARRI ZEISS Master Macro Lens Annotations Resources and Contacts ARRI Sales Contacts A
30. C CDL Looks The alternative to ARRIs in camera look files is to send a clean Log C signal from the camera s REC OUT to an on set color correction tool such as FilmLight Truelight Technicolor DP Lights or Pomfort Live Grade and apply an ASC CDL American Soci ety of Cinematographers Color Decision List color correction to the live camera feed for monitoring The ASC CDL standard is supported by a wide range of devices Color correction settings that were made during the shoot are logged with time code and can be output in an Avid Log Exchange ALE file The ALE file then can then be used in a color correction system to automatically apply the color corrections when deliverables will be created ALEXAs with an XR Module and Codex Onboard recorders can be connected to any color corrector offering the Truelight CDL Protocol via Ethernet and automatically capture the ASC CDL correction values with the camera footage The Codex VFS can use the color correction settings and automati cally apply them when generating files On ALEXA XT XR cameras the CDL values will be embedded within the header of each ARRIRAW frame p On Set Monitoring output color corrected live image 3 Use Look Live Color Correction apply ASC CDL color correction Clean Feed Log C live image from REC OUT Dailies ASC CDL Values including Log C to Video amp CDL correction send to ALEXA Ethernet ARRIRAW
31. D 115 120 145 fps Range 0 75 30 0 75 40 0 75 40 0 75 40 0 75 60 0 75 60 0 75 30 0 75 60 0 75 60 32 GB SxS PRO Recording Time 824 fps 9 min 12 min 14 min 14 min 19 min 21 min 12 min 24 min 36 min Recording Time max fps 7 min 7 min 8 min 8 min 7 min 8 min 5 min 9 min 14 min fps Range 0 75 48 0 75 60 0 75 60 0 75 48 0 75 60 0 75 120 0 75 60 0 75 120 0 75 120 64 GB SxS PRO Recording Time 24 fps 19 min 25 min 29 min 28 min 38 min 43 min 24 min 48 min 72 min Recording Time max fps 9 min 10 min 11 min 14 min 15 min 8 min 9 min 9 min 14 min XR Capture Drive fps Range 0 75 96 0 75 120 0 75 48 0 75 60 0 75 1205 0 75 48 0 75 60 0 75 120 0 75 60 0 75 120 0 75 120 Recording Time 24 fps 35 min 47 min 70 min 93 min 107 min 105 min 140 min 160 min 85 min 170 min 255 min Recording Time max fps 9 min 9 min 35 min 37 min 21 min 52 min 56 min 32 min 34 min 34 min 51 min O 1 ProRes 422 422 LT and 422 Proxy are also available but left out for reasons of clarity 2 All speeds adjustable with 1 1000 fps precision To record above 60 fps in any format the camera needs to be switched to high speed mode 3 ProRes is a variable bit rate codec Actual data
32. D codec The OP1a MXF format packages picture sound and metadata in a single file This is ideal for both camera acquisition and archiving since audio and video is always kept together and no data is lost if recording is inter rupted for any reason Please note that DNxHD recording is temporarily un available in SUP 8 0 This feature will be re enabled as soon as possible To get more information about working with ALEXA DNxHD material please take a look at the MXF DNxHD White Paper which is available at www arri com alexa downloads Format Sensor Mode Resolution DNxHD 115 120 145 16 9 1920 x 1080 DNxHD 175x 185x 220x 16 9 1920 x 1080 DNxHD 444 16 9 1920 x 1080 Color Coding 8 bit YCbCr 10 bit YCbCr 10 bit RGB Data Rate 24 fps Mbit s 115 175 350 1 DNxHD recording is temporarily unavailable in SUP 8 0 This feature will be re enables as soon as possible DNxHD 444 recording is planned for a future software update 3 All speeds adjustable with 1 1000 fps precision Data Volume 24 fps GB h 52 79 159 fps Range 0 75 120 0 75 120 0 75 60 Overview E im gt Exposure Index While ALEXA s 14 stops of exposure latitude and unique highlight handling approaches that of film there is one major difference between the way film and digital cameras behave with digital cameras a change in El will shift how many stops are available above and be
33. RAW up to 120 fps n camera ProRes or DNxHD up to 120 fps Fast 512 GB XR Capture Drives Proven efficient Codex workflows In camera Filter Module IFM 1 Internal filtration to reduce reflections and weight Available in 8 densities from ND 0 3 to ND 2 4 Neutral color balance at all densities High image sharpness and contrast Plug and play anamorphic 4 3 sensor on all ALEXA XT models Anamorphic de squeeze license included High speed license included LDS PL Mount On all ALEXA XT models for ubiquitous lens metadata Viewfinder Mounting Bracket VMB 3 Strong and rigid 15 mm rod construction e Can take lens motors matte boxes etc Stronger Viewfinder Extension Bracket VEB 3 Super silent ALEXA XT fan gt E 2 i z z Home Screen Home Screen Soft Buttons 2 The soft buttons lead screens where the respective WB Set white balance consisting of a Kelvin 5 settings can be changed In the home screen the value for red blue correction and a following info is displayed CC shift for green magenta correction shown as exponent 24 000 1 72 8 FPS Set sensor frame rate 2mm AUDIO When audio is active audio levels are ALEXA Studio Icons TC INT 03 20 58 24 16 9 003 ARRIRAW shown Audio also be switched D BAT 13 5V DUR 0 00 27 00 44 43 OFF or DISABLED when the sensor is Name Icon Description INT RAW 5600 0 E not running at sync
34. RGB filter layer is applied those values are clipped p and psf The REC OUT and MON OUT on an ALEXA can be set progressive p or progressive segmented frames psf output An ALEXA always captures progres sively full frame at once The psf mode splits each frame into two segments other than interlaced cap ture which captures both segments in two separate exposures The psf output enables compatibility to devices that only understand interlaced signals for certain frame rates It has no influence on the inter nal recording or ARRIRAW T Link output ith ALEXA ing wi ie ith ALEXA ing wi i Metadata Overview Metadata is a set of data that describes and gives information about other data ALEXA always records as much metadata as is available This additional information makes documentation easier as the metadata is stored within the image files so it cannot get lost A range of automatic and human readable data is be ing delivered by the ALEXA camera this data makes work in post much easier exposure index gamma and white balance information for example is essen tial for creating dailies or color grading Reel number project fps date and time become important when combining images and sound from different sources Metadata in the ALEXA appears in several different ways embedded in the ARRIRAW header QuickTime metadata atom and ARRI Digital Meta Data ADMD atom MXF metadata XML Fi
35. RRI Service Contacts ARRI Digital Workflow Solutions Online Resources 70 86 100 100 102 104 106 108 112 114 116 116 118 120 121 wn pm t 2 9 E E gt Introduction Welcome to the Pocket Guide for the ALEXA and ALEXA XT family of cameras which contains important preproduction and production information for an ALEXA shoot The ALEXA platform has been designed with ease of use and user friendliness in mind the menu and controls are simple and intuitive so the best way to learn ALEXA is to get your hands The ALEXA family on the real thing However carrying this guide with you and combining it with other resources such as the ALEXA manual at www arri com alexa downloads or the interactive ALEXA ALEXA XT Camera Simulator at www arri com alexa tools will ensure your readiness to take full advantage of the camera s unique and versatile features ALEXA ALEXA XT ALEXA XT M ALEXA XT Plus ALEXA XT Studio E E gt E gt The new ALEXA camera range ALEXA XT The ALEXA XT brings new features to the ALEXA product line inspired by feedback from professional users The ALEXA XT ALEXA XT M ALEXA XT Plus and ALEXA XT Studio cameras replace all previ ous models except for the original ALEXA Existing ALEXAs can be upgraded to deliver most of the features of an ALEXA XT XR Module n camera ARRI
36. Rates Shutter Exposure Latitude Exposure Index White Balance Please refer to the tables given in the chapter Recording Media on page 16 ff Rotating mirror shutter ALEXA Studio only 11 2 180 0 or electronic rolling shutter 0 75 60 fps 5 0 358 0 60 120 fps 356 Shutter angle setting precision 1 10 degree Certain fps limits apply for maximum mirror shutter angle 14 stops for all sensitivity settings from El 160 to El 3200 as measured with the ARRI Dynamic Range Test Chart DRTC 1605 1200 400 EI8007 16002 EI 32007 Values behind the exposure index are the number of available stops above and below 1896 grey These values apply to Log C output Rec 709 output provides 0 5 stops less on the low end at El 160 0 4 stops less on the low end at El 200 and 0 2 stops less on the low end at 400 Separate red blue and green magenta balance available through Auto White Balance or manual setting Red blue 2000 to 11000 Kelvin adjustable in 100 K steps with presets of 3200 tungsten 4300 fluorescent 5600 daylight 7000 daylight cool Green magenta 8 to 8 color correction CC 1 CC 035 Kodak CC values or 1 8 Rosco values Sound Level Power In Power draw ALEXA Plus Plus 4 3 ALEXA XT XT Plus ALEXA Studio ALEXA XT Studio ALEXA Under 20 db A 24 fps mirror shutter running on the Studio and lt 30 Celsius lt 86 Fahrenheit with lens attac
37. ction P3 it needs to be tone mapped and transformed into the target color space This image conversion can be performed using a 3D Look Up Table LUT When recording Log C or ARRIRAW the MON OUT is typically set to display Rec 709 video This activates an internal Log C to video conversion LUT on the output The same applies if the REC OUT is used for example to present a clean video feed to the director When an on set color correction system is used to apply live looks to the camera image the REC OUT is typically set to Log C output The color corrector then applies the settings in Log C and con verts the output to REC 709 video using a 3D LUT ARRI provides these LUTs through the online ARRI LUT Generator at www arri com alexa tools Recording Codecs Log C material is best recorded using a 4 4 4 codec ProRes 4444 or DNxHD 444 The top quality 4 2 2 codecs ProRes 422 HO and DNxHD 220x will also provide acceptable results in Log C but due to the higher compression ratio grading images recorded with these codecs may exhibit artifacts Linear Visual effects often work with linear light encoded material The ARRI LUT Generator can produce LUTs that will convert Log C material to sensor linear encoding The linearization will preserve all image information It is therefore possible to do round trip conversions from Log C to linear and back to Log C ARRI LUT Generator The ARRI LUT Generator can output 1D and 3D LUTs fo
38. de 16 9 or 4 3 Displays active recording format ARRIRAW ProRes HD or 2K or DNxHD SxS PRO adapter or XR Capture Drive inserted into slot Remaining capacity of loaded magazine Loaded Magazine is full No Magazine in slot Magazine does not support the currently selected Recording format Remaining capacity of card in SxS slot 1 in minutes Calculated for the set frame rate and codec Note these are only approximate values Card 1 is write protected Card 1 is full Marks the active card Overview STBY The camera is in standby and ready to record REC The camera is recording Ni An error occured Recording is not possible Press the INFO button for more details If nothing is shown neither the red green bar the camera works properly but no SxS PRO card is present for recording IE Look active CDL Server active connected GB CDL Server active not connected 1 not available on ALEXA XT E E gt i Icons on Home Screen Name Icon Description General Important information Warning waiting on the info screen Press the INFO button for more details General An error occurred Error Press the INFO button for more details Slight sensor temperature Temperature Warning offset Image quality might be affected Temperature Great sensor temperature Error offset Image quality might be affected seriously
39. e Technik GmbH amp Co Betriebs KG Headquarters Sales amp Service TurkenstraRe 89 80799 Munich Germany salessupport arri de Tel 49 0 89 3809 0 Fax 49 0 89 3809 1245 ARRI Cine Video Ger te Gesellschaft mbH Pottendorfer 25 27 1120 Vienna Austria Tel 43 1 89 20107 Fax 43 1 892 01 07 91 ARRI CT Limited Sales amp Service 2 Highbridge Oxford Road Uxbridge UB8 1LX Middlesex United Kingdom Tel 44 1895 457 000 Fax 44 1895 457 001 ARRI Italia S r l Sales amp Service Viale Edison 318 20099 Sesto San Giovanni Milano Italy info arri it Tel 39 02 262 271 75 Fax 39 02 242 1692 Americas ARRI Inc West Coast amp Mexico Sales amp Service 600 North Victory Blvd Burbank CA 91502 1639 USA info arri com Tel 1 818 841 7070 Fax 1 818 848 4028 ARRI Inc East Coast Sales amp Service 617 Route 303 Blauvelt NY 10913 1109 USA info arri com Tel 1 845 353 1400 Fax 1 845 425 1250 ARRI Inc Central amp Southern America Sales 2385 Stirling Road Ford Lauderdale FL 33312 USA ventas arri com Tel 1 954 322 4545 Fax 1 954 322 4188 ARRI Canada Limited Sales amp Service 1200 Aerowood Drive Unit 29 Mississauga Ontario LAW 257 info arri com Tel 1 416 255 3335 Fax 1 416 255 3399 Asia ARRI Asia Limited Sales amp Service 2203B The Centrium 60 Wyndham Street Central Hong Kong info arriasia hk Tel 852 2571
40. e sets to distribute the workload Sometimes not even related to the amount of foot age higher efficiency may be gained by splitting tasks between location and post production One example would be creating multiple deliverables for editorial dailies projection streaming on the web iPad etc which can be done more efficiently using a dedicated dailies tool Archiving to LTO tape also does not necessarily need to happen on location especially if postproduction is close by and possibly connected over e g 10 Gig Ethernet a Kk wn on 1 x t ce co wn 2 pm co m E 6 Technical Specifications Camera Types ALEXA ALEXA XT ALEXA Plus ALEXA Plus 4 3 35 format film style digital camera with integrated shoulder arch and receptacles for 15 mm lightweight rods 35 format film style digital camera with integrated shoulder arch and receptacles for 15 mm lightweight rods The ALEXA XT Series features a 4 3 sensor as well as various improvements including a Lens Data Mount for all cameras Offers in addition built in support for the ARRI Wireless Remote System cmotion cvolution lens control system and ARRI Lens Data System including Lens Data Mount and Lens Data Archive for lenses without built in LDS This version of ALEXA Plus offers a 4 3 capture mode in addition to the Plus feature set It is bundled with Anamo
41. elated issues including ARRI Look File handling data copying backups quality check LUTs metadata or working with Log C files In addition the DWS group provides support for such tools as the ARRIRAW Converter Look Creator ARRI LUT Generator and ALEXA Frameline Composer Feel free to contact DWS at digitalworkflow arri de This ARRI ALEXA Pocket Guide Ident Nr K5 40980 B is published by Arnold amp Richter Cine Technik Mai 2013 ARRI Technical data and offerings are subject to change without notice All rights reserved Without any warranty Not binding 05 2013 ARRI is a registered trademark of Arnold 8 Richter Cine Technik GmbH amp Co Betriebs KG Arnold amp Richter Cine Technik GmbH amp Co Betriebs KG T rkenstrasse 89 D 80799 Munich Tel 49 0 89 3809 0 Fax 49 0 89 3809 1245 www arri com Online Resources ALEXA Manual ALEXA Data Sheets ALEXA Dimensions Frequently Asked Questions ALEXA Software Update Packets Technical details on recording ARRIRAW ProRes DNxHD ALEXA Camera Simulator ALEXA Frameline Composer ALEXA LUT Generator ALEXA Pocket Guide WebApp www arri www arri www arri www arri www arri www arri www arri www arri www arri www arri www arri www arri com alexa downloads com alexa downloads com alexa downloads com alexa learn com alexa downloads com alexa arriraw com alexa sxs com alexa sxs com alexa tools com alexa tools com al
42. ely irrelevant for live action this mea surement is important for special effects work 7 The image diameter ID is the diameter of the image circle needed for the respective format These lenses are designed for the largest ID given here 8 Horizontal and vertical V angles of view for a Super 35 Cinemascope camera aperture 22 5mm x 18 7mm 0 8858 x 0 7362 9 Horizontal vertical and diagonal 0 angles of view for a Normal 35 Academy camera aperture 1 37 1 22mm x 16mm 0 8661 x 0 6299 10 Horizontal vertical V and diagonal D angles of view for a DIN Super 35 Silent camera aperture 1 33 1 24mm x 18mm 0 944 x 0 7087 11 Horizontal H vertical V and diagonal D angles of view for an ANSI Super 35 Silent camera aper ture 1 33 1 24 9mm x 18 7mm 0 980 x 0 7362 12 Horizontal H vertical V and diagonal D angles of view for the Alexa D 21 HD camera aperture 1 78 1 2880 x 1620 pixels 23 76 mm x 13 37mm 0 935 x 0 526 13 Horizontal H vertical V and diagonal D angles of view for the Alexa 2K 16 9 camera aperture 1 78 1 3072 x 1728 pixels 25 34 mm x 14 26 mm 0 998 x 0 561 14 Length is measured from the image to the front of the lens housing 741 wn co co wn 5 i wn ce ARRI Sales Contacts Europe Middle East Africa India Arnold amp Richter Cin
43. es use operational pattern OP1a frame wrapped per SMPTE 2019 4 2008 and a MXF Media eXchange Format container compared to the Quicktime mov container MXF DNxHD files can be linked to Avid Media Composer 5 5 or greater using the ALEXA AMA plug in available from the ARRI website for Windows Mac OS X Of course DNxHD recording is available in Regular and in High Speed mode see High Speed license On ALEXA XT the High Speed and Anamorphic De squeeze licenses are preinstalled coming in a later SUP ing with A ie uw i i wn a Lu m General considerations This chapter offers checklists for typical use cases of an ALEXA camera During prep or pre production the following topics should be clear The basic camera parameters e g timecode basis respectively project speed choice of gamma and recording format should always be discussed with postproduction The choice of camera settings can be affected for different reasons Sometimes the reasons are creative sometimes the production pace may have an influence To avoid surprises it is critical to give the planned setup a try and run a short test through the entire workflow before starting the shoot This is the fastest and most reliable way to identify problems in the digital workflow We highly recommend that you make at least one verified backup immediately after the recording media is
44. eturning them to you Don t wait for a drive card to fill up completely 4 Remove the mag and prepare it to be backed up Putthe drive card into its case Visually mark the exposed negative with colored tape 5 The data wrangler should perform at least the fol lowing steps Transfer the drive s card s contents including checksum verification Depending on the recording mode format the drive card ProRes DNxHD or clear the drive ARRIRAW before it is returned to the camera This greatly reduces risk to accidently format a drive card that has not been backed up and made it back to the camera by mistake Putthe drive card back into its case without color tape and hand over to the loader Shooting Stereo 3D 1 Do not use different ALEXA models in a 3D setup If a licensed feature will be used the license key must be installed on both cameras 2 Connect both cameras using the EXT to EXT and Ethernet to Ethernet cable 3 Start the initial camera setup with a Factory reset on both cameras and skip the Project settings 4 Enter MENU gt SYSTEM gt External Sync Set the Eye index for each camera depending on their position Set Sensor sync to EXT master on one camera and EXT slave on the other Set Settings sync to ETH master on one camera and EXR slave on the other All settings made on one camera will now automatically be set on the other 5 Now return to MENU gt Project and
45. exa tools com alexa apg wn 5 co wn 5 i wn ce ALEXA ALEXA Pocket Guide WebApp www arri com alexa apg ARRI
46. g enabled for EVF and or MON OUT Overview Displays current SxS resolution HD or 2K Displays Gamma setting for EVF or MON OUT A look is active burned in on EVF MON OUT and or Internal recording CDL server connected disconnected i n Return is active image from RET SYNC IN input is shown 15 E im gt Recording Media An ALEXA camera can be equipped with an SxS Module or the new XR Module for internal record ing The SxS Module can record OuickTime ProRes or MXF DNxHD files on Sony SxS PRO cards SxS PRO cards have an ExpressCard34 form factor and are available with a capacity of 32 and 64 GB ALEXA cameras with an XR Module can also record to Sony SxS PRO cards or to Codex XR Capture Drives which additionally enables uncompressed ARRIRAW record ing Using SxS PRO cards requires an SxS Adapter from ARRI and does not allow recording ARRIRAW data Codex XR Capture Drives share the same mechanical interface as other Codex Capture and Transfer Drives but with SUP 8 0 only XR drives can be used for recording The table shows the data rates and storage requirements for the available recording formats Recording Media Recording Format 4 3 ARRIRAW 2 8 16 9 ARRIRAW 2 8K 4 3 ProRes 4444 2K 16 9 ProRes 4444 2K 16 9 ProRes 4444 HD 4 3 ProRes 422 2K 16 9 ProRes 422 HO 2K 16 9 ProRes 422 HD 16 9 DNxHD 4447 16 9 DNxHD 175x 185x 220x 16 9 DNxH
47. hed and fan mode set to Regular measured 1 m 3 feet in front of the lens Silent operation at higher temperatures possible with fan mode set to Rec low ALEXA XT Under 19 db A 24 fps mirror shutter running on the Studio and lt 30 Celsius lt 86 Fahrenheit with lens attached and fan mode set to Regular measured 1 m 3 feet in front of the lens Silent operation at higher temperatures possible with fan mode set to Rec low BAT connector optional V Lock or Gold mount battery adapter back and top Camera accepts 10 5 to 34 V DC on all inputs Values stated here apply to typical use at 24 fps without accessories 85 W for camera and EVF 1 recording to SxS PRO cards 100W for camera and EVF 1 recording to Capture Drives SxS PRO cards 90 W for camera with OVF 1 recording to SxS PRO cards mirror shutter on 105 W for camera with OVF 1 recording to Capture Drives SxS PRO cards mirror shutter on When running over 30 fps with mirror shutter on a supply voltage of 18 V or more is recommended i ce co co wn 2 pm fas So ce co co wn 2 co D 6 rn ALEXA M ALEXA XT M Power Out 40 W for camera head and 85 W for body recording to SxS PRO cards Weight 40 W for camera head and 100 W for body recording to Capture Drives SxS PRO cards A 24 V power input to the
48. ilable for download at www arri com alexa downloads COMPANY Adobe Adobe Assimilate Autodesk Autodesk Black Magic Design Codex Digital Colorfront DigitalFilmTechnology DVS clair eyeon FilmLight Gluetools mage Systems Digital Vision MTI Film Pretend Quantel 560 The Foundry The Foundry Tweak PRODUCT Premiere Pro Speedgrade Scratch Scratch Lab Flame Lustre Smoke Resolve Transfer Station On Set Dailies Flexxity Clipster ColorUsDailies Fusion Baselight Toolkit for FCP Nucoda FilmMaster Control Dailies Stereoid Pablo Mistika Hiero Nuke RV Overview CERTIFIED v 5 S SISISISISIS 5 ProRes Recording 5 Format pri Resolution Color Coding Zee i 2 fps Range D 8 The ALEXA has been the first camera offering inter of an optimized in camera downscaler and provides 8 nal ready to edit QuickTime ProRes HD recording the best possible 2K image output When capturing 4 3 2048 x 1536 10 bit YCbCr 60 27 0 75 48 to SxS PRO cards With SUP 7 0 all cameras re ARRIRAW it is common to use the full 2880 image ProRes 422 Proxy 16 9 2048 x 1152 10 bit YCbCr 45 20 0 75 60 ceived a free upgrade enabling QuickTime ProRes 2K width for processing 2K deliverable The ARRIRAW 16 9 1920 x 1080 10 bit YCbCr 40 18 0 75 120 recording Recording in ProRes 2K is a cost efficient SDK however allows to process 2K images from 4 3 2048 x 1536 10 bit YCbCr 130 63 0 7
49. ime symbol and enter inch values by using the double prime symbol 4 The prime symbol for feet values is optional and can be used to separate feet and inch values 21inch 1 90or21 14 5 inch 1 2 5 or 14 5 20 feet 20 or 20 Editing and Deleting Data Points The value of a data point can be edited by clicking on the data field and entering a new value It is not possible to move a data point on the scale The data point has to be deleted and re entered at the desired place A data point can be deleted by moving the point to the scale index Once there the symbol changes from the green symbol to a red symbol and can be deleted by clicking on the symbol or press ing Enter on the keyboard Saving and Downloading Lens Tables You can save a newly created lens table into the camera s internal Lens Data Archive LDA by hitting the Send to Camera button in the LDS browser Click Download from Camera to download existing lens tables from the camera s Lens Data Archive LDA to the computer Save them onto SD card if you want to load them into another camera using the SD card a Kk wn on EI 1 x E T p on T ALEXA XT XR Workflows The XR Capture Drive is formatted differently for uncompressed ARRIRAW and compressed ProRes DNxHD recording Compressed Recording Formats When the XR Module is set to ProRes
50. ions 114 data is subject to change without notice wn wn ARRI ZEISS LDS Ultra Prime Lenses 44 lt lt ene Aperture Close Focus Length D Weight Horizontal Angle of View Entrance pupil Normal 35 DIN Super 3519 ANSI Super 35 ID 27 20 mm ID 30 00 mm ID 31 14 mm LDS Ultra Prime 12 PLLDS T2010 T22 0 30m 11 8 140 5 5 156mm 6 1 22Kg 48lb 85 2 90 2 92 6 113 4 mm 4 4 LDS Ultra Prime 14 PLLDS T1910 122 022m 87 112mm 44 114mm 4 5 18Kg 40lb 75 6 80 6 82 6 91 3 mm 3 5 LDS Ultra Prime 16 PLLDS T1910 T22 0 25 9 8 94 mm 3 7 104mm 4 1 15Kg 33lb 70 8 73 0 75 2 85 1 3 3 LDS Ultra Prime 20 PLLDS T1 9 to T22 0 28 11 91 mm 3 6 104mm 4 1 1 5Kg 3 3 Ib 58 4 62 8 65 0 73 3 mm 2 8 LDS Ultra Prime 24 PL LDS T1 9toT22 0 30 11 8 91 3 6 104 41 1 3Kg 2 9 Ib 50 2 54 2 55 8 67 4 mm 2 6 LDS Ultra Prime 28 PLLDS T1 9 to T22 0 28 11 91 mm 3 6 104mm 4 1 1 5Kg 3 3 Ib 43 2 46 8 48 4 67 3 mm 2 6 LDS Ultra Prime 32 PLLDS T1910 T22 0 35 m 13 8 91 mm 3 6 104mm 4 1 1 4Kg 2 1 Ib 38 2 41 6 43 0 61 1 2 4 LDS Ultra Prime 40 PLLDS 1 9 to 22 0 38 15 91 mm 3 6 104mm 4 1 1 4Kg 2 1 Ib 30 6 33 2 34 7 59 2 mm 2 3 LDS Ultra Prime 50 PLLDS T1 9toT22 0 60m 23 6 91 3 6 104 41 1 2 2 61 24 0 26 2 27
51. levels with embedded audio timecode and meta data MXF DNxHD may require a license key ALEXA XT Series Records ARRIRAW ProRes or DNxHD onto XR Capture Drives up to 120fps With SxS Adapter Apple OuickTime files with ProRes encoding MXF files with DNxHD encoding onto SxS PRO cards codecs maintain legal range levels with embedded audio timecode and metadata MXF DNxHD may require a license key ALEXA 2x 1 5 G or 3G REC OUT BNC connectors for ARRIRAW 4 3 or 16 9 or HD SDI video 16 9 Both with embedded audio timecode metadata and recording flag ARRIRAW uncompressed 2880 x 1620 16 9 or 2880 x 2160 4 3 ALEXA Studio Plus 4 3 and M only 12 bit log Requires an ARRIRAW T Link certified recorder HD SDI uncompressed 1920 x 1080 16 9 4 4 4 RGB or 4 2 2 YCbCr both legal or extended range Recording frame rates other than HD standard 23 976 24 25 29 97 30 50 59 94 60 fps requires a recorder with Variflag support ALEXA XT Series 2x 1 5 G or 3G REC OUT BNC connectors HD SDI video 16 9 or MON OUT clone HD SDI uncompressed 1920 x 1080 16 9 4 4 4 RGB or 4 2 2 YCbCr both legal or extended range Recording frame rates other than HD standard 23 976 24 25 29 97 30 50 59 94 60 fps requires a recorder with Variflag support i ce co co wn 2 pm fas D Qa ce 5 co wn 2 co D
52. low 18 grey each step shifts the location of 1896 grey What is special about ALEXA however is that its wide exposure latitude is avail able at all El settings 3200 1600 800 400 200 160 9 4 Stops 8 4 Stops 7 4 Stops 6 3 Stops 5 0 Stops 53 Stops 18 Gray 18 Gray mmi 18 Gray 4 6 Stops 5 6 Stops 6 6 Stops 7 7 Stops 9 0 Stops CESS As a shortcut we have come up with the following method of writing ALEXA s exposure index El 1602 2002 40075 Values next to the exposure index are the number of stops above and below 18 grey These values are for Log C Rec 709 has 0 5 stops fewer in the EI 800755 El 16005 32007 low end at 160 0 4 stops fewer in the low end at EI 200 and 0 2 stops fewer in the low end at 400 Otherwise they are the same gt E gt E gt Working with ND filters While traditional ND filters work great for film for digital cameras we recommend the use of ND filters that have a built in far red blocker Traditional ND filters should only be used up to an ND 0 9 A single filter that combines a ND and a far red cut off gener ally yields better results and fewer reflections than a traditional ND filter stacked on top of a separate IR cut off filter FSNDs amp In camera Filter Module IFM 1 With the lau
53. m 5 4 Weight 2 9 Kg 6 4 Ib 2 4 Kg 5 3 Ib 2 2 Kg 4 8 Ib 2 2 Kg 4 8 Ib 2 4 Kg 5 3 Ib 2 6 Kg 5 1 Ib 2 2 Kg 4 8 Ib 2 3 Kg 5 1 Ib 2 2 Kg 4 8 Ib 2 3 Kg 5 1 Ib 2 7 Kg 5 9 Ib 2 6 Kg 5 7 Ib 2 8 Kg 6 2 Ib 2 9 Kg 6 4 Ib 2 8 Kg 6 2 Ib 4 0 Kg 8 8 Ib Normal 35 ID 27 20 mm 83 87 66 44 96 13 76 42 59 41 88 52 70 07 53 79 81 76 63 98 48 60 75 29 55 96 42 05 66 60 48 12 35 79 57 97 43 82 32 45 53 08 38 84 28 74 47 10 35 04 25 82 42 64 30 91 22 75 37 68 25 02 18 27 30 81 19 27 14 06 23 72 16 66 12 17 20 51 12 60 9 17 15 56 9 49 6 91 11 72 8 53 6 22 10 53 Angle of View V D DIN Super 3519 ID 30 00 mm 88 85 72 70 101 97 81 24 65 39 94 07 74 85 59 56 87 24 68 56 53 97 80 52 60 22 46 85 71 70 52 01 40 00 62 89 47 45 36 31 57 80 42 07 32 16 51 31 38 01 28 94 46 52 33 55 25 51 41 15 27 26 20 53 33 88 20 99 15 80 26 08 18 15 13 67 22 56 13 74 10 32 17 14 10 35 7 77 12 91 9 30 6 99 11 59 ANSI Super 35 ID 31 14 mm 90 98 74 78 104 26 83 44 67 49 96 33 76 87 61 50 89 33 70 53 55 80 82 48 62 07 48 50 73 66 53 72 41 45 64 81 49 06
54. m T1 9 PLLDS 71 9 122 0 70 m 2 4 v 183 mm 7 2 235 9 3 95 3 7 114 4 5 2 7 6 58 72 26 31 176 0 mm 6 929 Master Anamorphic 50mm T1 9 PLLDS 1 9 22 0 75 m 2 6 i 183 mm 7 2 235 mm 9 3 95 mm 3 7 114 mm 4 5 2 6 7 48 46 21 18 171 5 6 75 Master Anamorphic 60mm T1 9 PLLDS 1 9 T22 0 90 m 3 Ni 1243 183 7 2 235 9 3 95 3 7 114 mm 4 5 27 6 41 119 17 719 152 0 5 984 Master Anamorphic 75mm T1 9 PLLDS 1 9 22 0 90 m 3 e 183 7 2 235 9 3 95 3 7 114 4 5 2 6 5 7 33 40 14 21 136 7 mm 5 380 Master Anamorphic 100mm T1 9 PLLDS 71 9 T22 0 95 m 3 1 n TE 206 mm 8 1 258 10 2 95 mm 3 7 114 mm 4 5 3 1 6 8 25 36 10 68 145 0 5 709 Master Anamorphic 135mm T1 9 PLLDS T1 9 122 1 50 m 5 tbd tbd tbd tbd tbd tbd tbd 18 92 7 92 tbd For Annotations see Page 114 data is subject to change without notice 741 lt Master Prime 12 mm T1 3 Master Prime 14 mm T1 3 Master Prime 16 mm T1 3 Master Prime 18 mm T1 3 Master Prime 21 mm T1 3 Master Prime 25 mm T1 3 Master Prime 27 mm T1 3 Master Prime 32 mm T1 3 Master Prime 35 mm T1 3 Master Prime 40 mm T1 3 Master Prime 50 mm T1 3 Master Prime 65 mm T1 3 Master Prime 75 mm T1 3 Master Prime 100 mm T1 3 Master Prime 135 mm T1 3 Master Prime 150 mm T1 3 Lens Mount PL LDS
55. mm 0 935 x 0 526 27 26 mm 1 073 ProRes 2K 2868 x 1612 Photosites 23 66 x 13 30 mm 0 931 x 0 524 27 14 mm 1 069 EVF 1 MON OUT 4 3 Surround View 3168 x 2160 Photosites 26 14 x 17 82 mm 1 029 x 0 5702 0 31 64 mm 1 246 16 9 Surround View 3168 x 1782 Photosites Sensor 35 format ALEV III CMOS sensor with Dual Gain Architecture DGA and Bayer pattern color filter array 26 14 x 14 70 mm 1 029 x 0 579 g 29 39 mm 1 181 Motorized Filter ALEXA Studio ALEXA XT Studio only 16 9 sensor mode 2880 x 1620 pixels for ARRIRAW and HD recording formats 2868 x 1612 pixels for ProRes 2K recording 4 3 sensor mode 2880 x 2160 pixels for ARRIRAW recording 2868 x 2150 pixels for ProRes 2K recording Sensor mode 16 9 or 4 3 Switching takes approx 60 seconds 4 3 output only available for ARRIRAW and ProRes 2K recording Not available for DNXHD recording Regular or High Speed mode Switching takes approximately 40 seconds High Speed mode is only available for 16 9 sensor mode Mirror shutter ALEXA Studio only on or off Switching takes approximately 3 seconds through camera display Sealed behind the lens motorized filter mechanism provides optical flat or ND 1 3 4 1 3 stops a ce 2 Lond J D ce co wn 2 co D Frame
56. nada Limited Hong Kong ARRI Asia Limited Beijing China ARRI China Co Limited Sydney Australia ARRI Australia Pty Limited E Mail service arri de service arri ct com service arri it arri bars pro ru service cineom com service arri com service arri com service arri com service arriasia hk service arrichina com service arri com au Telephone Hotline 49 89 3809 2121 44 1895 457 051 39 335 749 00 70 7 495 415 98 13 7 495 415 98 14 7 495 415 98 15 91 22 42 10 9000 1 877 565 2774 1 877 565 2774 1 416 255 3335 852 2537 4266 86 10 5900 9680 61 2 9855 4305 Zone 2 Mississauga amp New York ARRI Service is the first port of call for all questions concerning not only the ALEXA cameras but all ARRI cameras ever made with worldwide service centers and 24h availability on Monday to Friday Zone 1 London Moscow Munich Mumbai Zone 3 Beijing Hong Kong Sydney Well trained technicians cover all hardware and software related issues upgrades or e g the recov ery of cards that have been accidentally erased igs E E 1 wn wn g ce wn p 5 co wn 5 i wn ce ARRI Digital Workflow Solutions The Digital Workflow Solutions DWS group deals with all workflow r
57. nal Cut Pro 7 XML and Avid Log Exchange ALE file These atoms or text based files can be parsed by e g editing software and offer the accompanying information mentioned above to the application and its user For more information on the metadata have a look at our whitepaper at www arri com alexa downloads Lens Data System By combining the ALEXA XT ALEXA Plus ALEXA M or ALEXA Studio camera with lenses equipped with a Lens Data System LDS PL Mount additional frame by frame lens metadata for use in VFX work will be acquired When using a non LDS lens in combination with the ARRI Controlled Lens Motors a profile for the lens can be created within the Lens Data Archive LDAJ by doing so the ALEXA camera can compen sate for the missing sensors inside the lens by reading the motor s position and calculating the current focus iris or zoom value A guide on how to create an entry for an unknown lens can be found on page 60 VFX Department use Lens Data for effects work Live update of Lens Data Display to keep the shot in focus 3 Using Lens Data WCU 4 controls camera via white radio ARRI META Extract extract Lens Data from files for use in VFX CLM 2 3 or 4 drives focus zoom or iris on lens 2 Storing Lens Data SxS PRO Card Lens data embedded in file header of the Quicktime clip Lens Data generated by e g a focus pull LDS capable lens amp ALEXA camera lenses Master Anamo
58. nch of ALEXA XT a filter holder mecha nism will be available preinstalled on ALEXA XT cameras except ALEXA XT Studio that allows to work with a set of eight FSND Full Spectrum Neutral Density filters In comparison to other IRNDs which have some bumps in their spectral behavior or the ordinary ND which opens up at about 675nm the FSNDs offer a true even reduction over the whole spectrum see next page The ALEXA Studio has a built in ND filter with a den sity of ND 1 3 4 3 stops which can be moved in and out of the optical path The advantage over classical ND filters is that it is located behind the mirror shut ter so the optical viewfinder image stays bright ALEXA PL Lens Mount IFM Empty Filter Frame IFM Filter Holder IFM Shim 8x Full Spectrum Neutral Density Filters FSND Optical Clear Overview E E gt Working with ND filters cont FSNDs in comparison Attenuation in stops Wavelength in nm 350 400 450 500 550 600 650 700 750 800 IRND Brand 1 IRND Brand 2 FSND 1 2 Classic ND False Color Exposure Check The false color exposure check for the electronic viewfinder and or MON OUT output measures the camera image tints certain signal levels in a distinct color and shows the rest as a black and white image The false color exposure check is based on the color processing set for the respective outp
59. nd or burnt in __ 2 Use Look SxS PRO Card HD look embedded in file header and or burnt in REC OUT jf J look embedded and or burnt in Grab dpx frame grab to SD card ARRIRAW look embedded in file header XML Look File copy xml file to SD card ARRI Look Creator load grab amp create look N Image with Look applied save as cineon dpx jpeg or tiff ith ALEXA ing wi ie ith ALEXA ing wi i Non Destructive Look Files The Look File does not only go back into ALEXA where it is embedded in the metadata file header but it is also used in the ARRI LUT Generator at http www arri com alexa tools The ARRI LUT Generator incorporates the Look File into a LUT The LUT on the other hand is used e g in a color grading application where it serves as a reference point for the grading artist In this way the director of photography s vision is being transported directly to post where the actual development of the images takes place 2 Use Look LJ Dalies or Conform SxS PRO Card Color Grading LogC clips have a preview Grading on your footage LogC Image ARRI LUT Generator Look File transported in file header combine Look with LUT XML Look File copy xml file to SD card Grab ARRI Look Creator frame grab to SD card load grab amp create look ith ALEXA ing wi ie ith ALEXA ing wi p AS
60. nt lenses to be used Simple camera E LEMO 2 pin 12 V accessory power out 12V 1 1 1 software updates via License keys Currently available purchase Anamor LEMO 5 timecode in out 1 1 1 phic De squeeze High Speed DNxHD ALEXA Studio ALEXA XT Studio TRS 3 5 mm headphone mini stereo jack out AUDIO OUT 1 1 1 and ALEXA Plus 4 3 ALEXA XT Plus come with all license keys pre installed LEMO custom 16 pin electronic viewfinder EVF 1 1 1 LEMO 10 pin Ethernet with 24 V power ETHERNET 1 1 1 1 Fischer 5 pin Lens Control System LCS 2 Note All technical data based on Software Update Packet SUP 8 0 Fischer 5 pin Lens Data Display LDD 1 data is subject to change without notice Fischer 12 pin for CLM 2 CLM 3 or later IRIS 1 Fischer 12 pin for CLM 2 CLM 3 or later ZOOM 1 Fischer 12 pin for CLM 2 CLM 3 or later FOCUS 1 LEMO SMPTE 304M hybrid fiber connector Optical Link 1 1 19501 ay Juaseida 0 8 dns VX31Vv lt lt 10 09 95 4 13 ed NI 138 0 1 19 10 09 195 0001 0 437 doy lt lt Z 1081 18S 291 195 Z awely 7 L TIO arudioureuy 0 10 10109 1 Jana 10 40 Bunjeag HO UQ 48319
61. nternet Explorer and Opera browsers are NOT ALEXA Studio and ALEXA XT series cameras the ALEXA web browser interface you have only one motor available but need to add supported more than one lens axis you can create the lens An Ethernet connection between ALEXA camera scales sequentially connecting the motor to the and computer using ALEXA Ethernet RJ 45 Cable respective controller connector Data points do not KC 153 S K2 72021 0 get lost unless the web browser s session cookie is deleted e One lens control hand unit e g WCU 3 ZMU WFU 3 WZU 3 WHA 3 Alternatively lens rings can also be moved manually with the motor attached to the lens Description 5 Creating a Lens Table 5 Each ALEXA camera contains an inbuilt basic remote m o 5 Calibrate the lens motors by hitting the Calibrate Serial Number Lens serial number will be w control web interface that can be accessed through button on the LDA browser screen Alternatively embedded as metadata an Ethernet connection using the Bonjour protocol calibrate the motors by using the Calibrate func Focal Length Focal length of a prime lens on Part of this web interface is the LDA Lens Data tion in the camera or the WRS hand unit After Will be shown on LDS screens and embedded Archive tab that allows creation and storage of new 8 performing the calibration of the lens mo
62. ny HD video based infrastructure Color comparison split image Video Log C ith ALEXA ing wi im Color Spaces cont Log C The C in Log C is derived from Cineon Cineon was the digital film scanning processing and record ing system developed by Kodak in the 90s It is also the name of a file format that contains density data from scanned negative film Density is a logarithmic measure of the opacity of the film The relation of the density to the film s exposure is called the char acteristic curve of the film Each stock has its own characteristic curve but the overall shape is always the same ARRI introduced a scene based encoding for their camera data which because of the similarity to the Cineon standard was named Log C With Log C encoding the signal level increases by a fixed amount with each increase of exposure measured in stops This encoding gradually advanced with an initial implementation for the ARRIFLEX D 21 and then a few upgrades for the ALEXA Log C images offer the original ALEXA specific wide gamut color space and are ideal to carry image information Viewing and Monitoring Log C Shooting images in Log C delivers the best basis for the colorist s work as it provides the camera s full latitude in an unconfined color space When viewed directly Log C images look flat with desaturated colors To correctly display Log C material on an HD monitor Rec 709 or in a digital proje
63. proceed from Step 2 in the regular camera setup Note The camera that can be seen better in the 3D rig should be set to EXT ETH slave as only the slave camera indicates a missing sync between master and slave before recording ALEXA M fiber maintenance The cleanliness of the optical fiber connectors is mandatory for seamless functionality Make sure not to touch the white fiber ends Never leave the connectors open but cover them with their rubber covers when not in use Plug the fiber end covers together while using the fiber cable to prevent dirt from accumulating inside the cover Regularly check the cleanliness of the fiber end e g with a fiber microscope If dirty clean the fiber end with the appropriate tools such as the SMPTE cleaning pen K2 72082 0 uJ i i wn Lu m 2 2 E Bm Required Equipment 9 ARRI Lens Data Archive LDA allows display Lens data tables of individual lenses can be stored in An LDS capable ALEXA camera A computer with installed web browser e g ing embedding of lens data information from and recalled from the Lens Data Archive Creation of e At least one lens motor CLM 2 CLM 3 or CLM 4 Firefox Chrome Safari Cookies must be enabled 05 lenses with ALEXA Plus ALEXA Plus 4 3 individual lens data tables is now possible through We recommend using one motor per lens scale If I
64. r Adapter EVA 1 ce wn 2 f ce co wn 2 co Q rn Assistive Displays For EVF 1 and MON OUT frame lines surround view camera status false color exposure check peaking focus check electronic level compare stored image with live image RETURN IN video and anamorphic de squeeze MON OUT only reel amp clip number For OVF 1 Warning LEDs for REC recording BAT battery low FULL SxS PRO card full ALEXA Studio ground glass holder and frameglow frames are compatible to ARRICAM Exact alignment of framelines and captured frame however Recording Outputs requires the use of ALEXA Studio ground glasses and glow masks For custom aspect ratios not in the price list please use the online ground glass composer at http www arri com camera ground glass composer html Control Camera right main user interface with a 3 transflective 400 x 240 pixel LCD color screen illuminated buttons button lock and jog wheel Camera left operator interface with illuminated buttons button lock and card swap button Optional accessory RCU 4 for remote control via camera ETHERNET connector In camera Recording ALEXA Records Apple OuickTime files with ProRes encoding or MXF files with DNxHD encoding onto either one or two Dual Recording SxS PRO cards codecs maintain legal range
65. r a wide range of common postproduction tools It is available online at www arri com alexa tools ith ALEXA ing wi ie ith ALEXA ing wi p In Camera Look Files ARRI Look Files are editable XML files that can apply a customized look to all outputs EVF 1 MON OUT REC OUT ProRes and or DNxHD recording that are set to Rec 709 A look file can be created based on a Log C DPX grab or a Log C QuickTime clip that was stored by the camera It contains parameters for saturation printer lights controls RGB offsets and for lift gamma gain similar to the CDL controls Optionally a look file may also include a freeform curve grey scale tone map LUT that will be applied instead of the standard Log C to Video tone mapping curve The free ARRI Look Creator ALC allows the creation of camera look files based on Log C DPX frame grabs Looks can also be created with third party software Pomfort Silverstack SET and Colorfront On Set Dailies ARRI Look Files can be saved to an SD card and imported into the camera One Look File can be activated at a time and applied to the different im age paths individually It is possible for instance to record a clean Log C image onto the SxS PRO card while outputting a Rec 709 image with a look applied on the MON OUT output As soon as a Look File gets applied to any output the data of the Look File is stored in metadata Apply Look File look embedded a
66. rate and recording time varies depending on image content 4 3 ARRIRAW recording on XR Capture Drives is limited to 48 fps in SUP 8 0 96 fps is planned for a future software update 5 ProRes 4444 HD recording on XR Capture Drives is limited to 60 fps in SUP 8 0 120 fps is planned for a future software update 5 DNxHD recording is temporarily unavailable in SUP 8 0 This feature will be re enabled as soon as possible 7 DNxHD 444 recording is planned for a future software update gt E 2 E gt Recording Format 16 9 Sensor Mode 4 3 Recording Media ALEXA XT Recording Matrix Internal recording onto XR Capture Drives ARRIRAW HD uncom ProRes pressed amp DNxHD 2880 1620 1920 1080 0 75 120fps 0 75 60 aa 2880x2160 0 75 96fps q m HD Highspeed ProRes amp DNxHD 1920x1080 60 120fps 2K ProRes 2048x1152 0 75 60fps 2048x1536 0 75 60fps Internal Recording with SxS PRO adapter onto SxS PRO card HD ProRes amp DNxHD 1920x1080 0 75 60fps HD Highspeed ProRes amp DNxHD 1920x1080 60 120fps 2K ProRes 2048x1152 0 75 60fps 2048x1536 0 75 60fps External recording HD uncom pressed 1920x1080 0 75 60fps ALEXA Recording Matrix Internal Recording Recording Media onto SxS PRO cards HD n Recording ProRes amp Highspeed Format DNxHD ProRes amp DNxHD 16 9
67. ree Run and Generator is set to Jam Sync 4 Press HOME and go to the FPS screen Enter SDI FPS and adapt REC OUT and MON OUT to the project frame rate Go BACK select the SENSOR FPS from the list and enter by clicking the menu wheel uw i i wn m i i wn a Lu m Recording with the XR 5 5 Module cont 5 Back on the Home screen enter COLOR GAMMA set INTERNAL to LOG C not used for ARRIRAW and everything else to REC 709 From the HOME screen adjust El SSHUTTER and WB as required Frequently used functions should be assigned to user buttons Press USER button and enter the EDIT screen Buttons 1 to 3 are available on the assistant and operator side so it makes sense to assign functions that are useful on both sides like EVF Gamma MON OUT false color MON OUT peaking or Check last clip Buttons 4 to 6 are only available on the assistant side through the user screen Additional notes for shooting in other modes than the standard setup Shooting Highspeed When shooting at 60 to 120 fps the project frame rate determines how many of the recorded frames will make up one second in playback timecode base TC should be set to Int LTC and Rec Run Step 3 Switch to High Speed from the FPS screen Step 4 Recording ARRIRAW via T Link not a
68. rphic Desqueeze Highspeed and DNxHD license ALEXA XT Plus ALEXA Studio ALEXA XT Studio ALEXA M ALEXA XT M Offers in addition built in support for the ARRI Wireless Remote System and cmotion cvolution lens control system In addition features a rotating mirror shutter an optical viewfinder that can be exchanged with the standard electronic viewfinder and 4 3 capture mode In addition features a rotating mirror shutter an optical viewfinder that can be exchanged with the standard electronic viewfinder Based on the ALEXA but with separate camera head and body Also offers 4 3 capture mode Based on the ALEXA but with separate camera head equipped with LDS PL mount and body i t ce co co wn 2 pm fas D pe 5 ro N Ld ro O Output Formats in 16 9 and 4 3 Sensor Mode Resolution Optical Viewfinder ALEXA Studio 26 14 x 19 0 mm 1 029 x 0 748 32 32 mm 1 272 iS Sensor Size 3392 x 2200 Photosites 27 98 x 18 15 mm 1 102 x 0 715 33 352 mm 1 3123 Sensor Mode 4 3 ARRIRAW 2880 x 2160 Photosites 23 76 x 17 82 mm 0 935 x 0 702 29 70 mm 1 169 ProRes 2K 2868 x 2150 Photosites 23 66 x 17 74 mm 0 931 x 0 698 29 57 mm 1 164 Sensor Mode 16 9 Operating Modes ARRIRAW ProRes HD DNxHD 2880 x 1620 Photosites 23 76 x 13 37
69. rphics Master Primes LDS Ultra Primes or ALURA zooms or Non LDS lenses with LDA Wireless System camera any from the ALEXA XT series ALEXA Studio Plus Plus 4 3 or M XR Capture Drive Lens data embedded in file header of each ARRIRAW frame ith ALEXA ing wi ie ith ALEXA ing wi i Licenses Licensed features expand the capabilities of an AL EXA camera A license file is serial number sensitive and can only be used on the camera for which it has been purchased Currently there are three licenses available Anamorphic De squeeze High Speed and DNxHD Recording Anamorphic De squeeze shows a properly de squeezed image with or without surround view on EVF 1 and or MON OUT when working with 1 3x or 2x anamorphic lenses The High Speed license allows recording 60 to 120 fps in 16 9 HD with ProRes codecs up to ProRes 422 HO or with DNxHD codec up to DNxHD 220x onto SxS PRO 64 GB cards This mode uses the same Super 35 sensor area as Regular Speed mode same depth of field same angle of view ARRIRAW 2K SxS resolution ProRes 4444 and 4 3 sensor mode are not supported in High Speed mode REC OUT will be rerouted to clone MON OUT The DNxHD license allows in camera recording onto SxS PRO cards of 16 9 HD Avid DNXHD 145 8 bit 4 2 2 DNxHD 220 10 bit 4 2 2 and DNxHD 4441 10bit 4 4 4 codecs both within an MXF wrapper and embedded audio timecode and metadata ALEXA MXF DNxHD fil
70. rs the highest achievable resolution the camera s natural color response and great exposure latitude as uncompressed and unprocessed sensor data With the introduction of the ALEXA XT series ARRIRAW data can be recorded directly in the camera at up to 120 fps which makes using ARRIRAW as your chosen format easier than ever before Like film negative ARRIRAW data has to be processed to produce a color image ARRIRAW images have only one channel A color reconstruction algorithm calculates the missing components of each pixel based on the type and position of the array of colored filters Bayer pattern on the camera sensor As a result half of the reconstructed image s green values are interpolated from the surrounding photosites rather than captured as are three quarters of the red and three quarters of the blue The ALEXA sensor provides a horizontal resolution of about 3K pixels from which downsampling routines produce optimized HD and 2K resolution images For VFX however the images often are processed using the native sensor pixel count and then downscaled to 2K for example at a later stage Using this approach takes advantage of the luminance resolution which correlates to the sensor pixel count p 5 MET Data Rate Format Resolution Color Coding File size 24 fps 4 3 ARRIRAW 2 8K 2880 x 2160 12 bit Bayer 9 3 MB 1 79 Gbit s 16 9 ARRIRAW 2 8K 2880 x 1620 12 bit Bayer 7 MB 1 34 Gbit s Data Volume 24 fps 806 GB h 60
71. s enough space for a few shoot days worth of ARRIRAW footage This gives a production a few days buffer to confirm that the material is OK before the storage needs to be cleared Deliverables for Dailies review and editorial can be provided via Network or shuttle disks a T7 on co x ue wn 5 wn on 1 x Uu ALEXA XT XR Workflows cont This setup also offers several options to optimize the performance in different production environments The Dual Dock allows cloning Capture Drives to Codex Transfer Drives Cloning creates verified identical copies and maintains the VFS An optional Codex Storage option will transform up to 6TB of internal RAID storage into a Codex volume which allows cloning Capture Drives to keep all data in the VFS Setting up the Mac in a 10 Gig Ethernet network enables direct VFS access for postproduction tools through a network share The optional Codex Offloader option expands the Software with an option to create verified copies of the VFS to connected external disks or to LTO tapes for archiving Scaling your Workflow To overcome a situation where you will be faced with more footage than a setup can handle the obvi ous solution is to add a second setup Sometimes it may be more beneficial to combine setups includ ing a Single Dock and a Dual Dock or a Dual Dock and a Vault and to use the different featur
72. sound speed 8 0 0 2 Mirror M Flashing Icon when the 3 COLOR TS SHUTTER Set shutter angle and turn Shutter 5 Mirror Shutter is spinning shutter on off for ALEXA Studio El Set exposure index and insert internal V Mirror Shutter in View position ND filter for ALEXA Studio COLOR Set gamma for REC OUT and SxS 2 2 Mirror Shutter in Gate position image paths If REC and or SxS icons have a blue background a look is ND filter GT active on this image path E E gt Home Screen Center Bar Displays current timecode including source INT internal or EXT external source Frames are not displayed instead the time base of the timecode is shown in small digits Camera is set to Ext sync MASTER Camera is set to Ext sync SLAVE Settings sync is active Voltage level of power source present at BAT connector or percentage of remaining capacity of attached battery if it transmits this information Voltage level of battery attached to top and or back onboard battery adapter or percentage of remaining capacity of attached battery if it transmits this information Identifies current reel Consists of camera index and reel counter Identifies current clip Consists of clip index and clip counter Duration of current clip during recording or length of last recorded clip during standby Shown as h mm ss Displays active sensor mo
73. tors as metadata Enter 0 Zero for zoom lenses w uJ lens tables to the ALEXA camera the respective lens scales are being displayed on 1 Connect the camera to a computer QQ 5 2X mm the LDA browser screen The green symbol 7 Move lens ring to the physical engraving that you 2 Open the web browser on the computer that is indicates the current position of the lens ring want to add in as a new data point with WRS connected to the camera 6 Fill in the lens descriptive fields Lens descriptions hand unit or manually with the motor attached 3 Enter the address alexa local with b pet point Atera you can use ENTER key Io ree atonal dsla points attie will be shown on LDS screens or embedded as 8 Click on the green in the LDA browser scale being the camera serial number metadata or hit the Enter button on your keyboard to open 4 Open the LDA tab in the ALEXA web browser Amanda je Company The lens manufacturer Will not be the active edit field embedded as metadata 9 Enter the current lens value do NOT hit Enter on Description Lens description that will be your keyboard afterwards displayed in the camera WRS screen and 10 Move the lens ring to the next position to enter embedded as metadata the next data point wn 9 wn on 1 x ue Creating a Lens Table cont Company Zeiss
74. u0 30H OL 195 NOILO3UIQ 195 lt 8 12 1 300901 0123810 sAejdsip snuvis W19 IN19 81903 SIO OW 11y 3 8 W19 0 ANDYOL 195 NOILOJUIG 195 lt 8 12 71 2008401 NOLLIFHIO 5 1081 snuvis W19 IN00Z 11y 31VH8I1V9 31VH8I1V9 t 8 12 0 INDYOL 195 NOLLO3HIC 195 9212 2 1 300801 NOLL23UI sfejdsip Snuvis W19 INT9 5181 sasuo 01 10 sua 10 10 9 628 00 40 9jeas uiooz 95 10 40 8 828 sui 5 0 0 uorsnjuoo Jo sua SNOILd0 501 pue 50204 SIHI HI9N31 204 sAejdsip snes 1100739 501 Vivd SN311 INOA 18521 0 asn 5 INOH LNOGVIY SNLYLS 1 0 SYM 00 40 4amod oipei SYM 0 0 jeuueu Em LX VX3rv pue snid 1X OPNS LX VXITV uong 9 sSurjas nua 2 0 Jouu 10 xz 55910 ue 225 sino 10525 11 9 01 uxiws Josu 10 xz 55810 ue 5995 1900 01 yms 1ese1 A103924 ayy Juasaidai
75. ut signal path Color Level 99 10096 97 99 52 56 38 42 2 5 4 0 0 2 5 So if you have the viewfinder set to Rec 709 the false color exposure check will be based on the Rec 709 image If you have the MON OUT at the same time set to Log C the false color exposure check for MON OUT will be based on Log C Description White clipping Just below white clipping white shoulder One stop over medium gray Caucasian skin 18 neutral gray Just above black clipping black slope Black clipping Overview lt lt gt lt gt lt lt lt Color Spaces The ALEXA can deliver the captured footage with Video Rec 709 Video Rec 709 Log C ALEXA wide Rec 709 is short for the International Telecommuni encoding cation Union s ITU R Recommendation BT 709 the z output format for a traditional television workflow Since the Video Rec 709 encoding from an ALEXA follows this standard for displaying images on video monitors ALEXA Rec 709 images can be directly displayed on monitors or used for editing and dailies review Without the need for color space conver sion ALEXA Rec 709 images can be processed by most HD video postproduction gear in real time While providing somewhat reduced choices in color grading Video Rec 709 maintains ALEXA s wide exposure latitude cinematic look and natural color rendition and offers the fastest workflow for a
76. vailable on ALEXA XT cameras Unless you want to record ARRIRAW and e g ProRes in parallel the Codec setting can also be used to turn off the SxS Module Step 2 This will output a record flag automatically start external recorders even if no SxS card is present in the camera Goto MENU Recording REC OUT and set the HD SDI format to ARRIRAW 1 5G DL or 3G SL for normal speed or 3G DL for high speed up to 60fps ARRIRAW output Optionally turn on REC OUT fps sets sensor fps Turn SDI remote on Please check the user manual of the recorder for setup instructions Operating the recording hardware needs to be taken very seriously Only trained per sonnel should be responsible for handling recording equipment uu i i wn i i wn a Lu m Additional notes for shooting other modes than the standard setup cont XR Capture Drive SxS PRO card Rotation 1 Take a fresh drive card make sure it is not locked SxS only and insert it into the camera Label facing to the outside If the drive card has been used before and still contains footage First verify that the material has been properly transferred gt Then use MENU gt Recording gt Internal gt Quick format media to format empty the card for recording gt Ask the data wrangler to empty the drives cards before r
77. xcept for the recorded data however none of these additional files actually exist It s only when these files are requested that they are generated on demand and on the fly Hence the term virtual The file formats file naming and directory structure that will be presented by the VFS are fully configu rable through the Codex 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 T i on T LTO 5 Drive LTO 5 Drive ALEXA XT XR Workflows cont wn 8 on EI 1 x ue E ALEXA XT XR Capture Drive Dual Dock Mac Pro Executive Dailies Edit Generating Deliverables Functions Clone Capture Drives to transfer drives maintaining the VFS Checksum verification Generate files for review edit and post Clear the data from the recording media Optional Features Codex Storage option to keep footage in VFS for several days before clearing Codex Offloader option for verified copies to external drives or LTFS tape A digital lab setup as shown here can be used to handle all regular data management tasks during a production ARI files are backed up to an internal or external RAID and collected for archiving to LTO tape Depending on the amount of footage per day 5 TB of storage provide

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