ARRI ALEXA SXT

THE BEST JUST GOT BETTER

Arri Alexa SXT Description

More than ever before, ALEXA offers the best overall image quality with the SXT cameras. For content producers that are increasingly concerned about compatibility with next-generation standards for deliverables and displays, there is no better choice than ALEXA SXT.

By striking a perfect balance between pixel size and resolution, ALEXA SXT is able to produce beautiful images in HD, 2K, 4K UHD or 4K Cine, while also delivering the highest dynamic range of any camera on the market, with 16 bit in-camera processing. It is therefore uniquely suited to the creation of content for emerging HDR (High Dynamic Range) display technologies.

Since ALEXA SXT records a WCG (Wide Color Gamut) signal larger than any current displays can show, its images are ready for new color space standards like Rec 2020. 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.

Features

High Dynamic Range
The ALEXA sensor provides high dynamic range iunequaledugh an unequalled exposure latitude with special consideration given to highlight treatment. ALEXA’s wide exposure latitude translates into a ‘thick’ digital negative; there is more detail information in the highlights and in the dark areas than any of the current display technologies can show.

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

ARRI Color Science
ALEXA’s high sensitivity and its ability to retain definition even when extremely under or overexposed make it very easy to work with. Its already low noise floor is further improved in the SXT cameras with an optional mild noise reduction. ALEXA’s unique color science was developed by the same ARRI color scientists that have been working on the ARRILASER and ARRISCAN; thus they are intimately familiar with both film and digital color science. ALEXA renders natural colors, great looking skin tones and shows excellent color separation while also showing a fantastic ability to resolve mixed color temperature sources.

In-camera ARRIRAW for ultimate quality and flexibility
For productions requiring uncompromised image quality, ARRIRAW is the best digital recording option. Unlike other camera formats, ARRIRAW delivers raw, uncompressed, unencrypted image data, providing the absolute best image quality from ALEXA. Especially for VFX it is important to record uncompressed raw, because compression artifacts make compositing more difficult.

Easy in-camera ProRes recording
No other motion picture camera bridges the gap between production and postproduction as simply and elegantly 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.

Specs

Camera Type	35 format film-style digital camera with an electronic viewfinder, a 16:9, 6:5, 4:3 or Open Gate switchable active sensor area, built-in filter holder, Lens Data System, integrated shoulder arch and receptacles for 15 mm lightweight rods
Sensor	35 format ALEV III CMOS sensor with Bayer pattern color filter array.
Photo Sites	Sensor Mode 16:9 2880 x 1620 used for 16:9 ARRIRAW 2.8K 3168 x 1782 used for 16:9 ARRIRAW 3.2K 2880 x 1620 down sampled to 1920 x 1080 16:9 ProRes HD 2880 x 1620 down sampled to 2048 x 1152 for 16:9 ProRes 2K 3200 x 1800 used for 16:9 ProRes 3.2K 3200 x 1800 up sampled to 3840 x 2160 for 16:9 ProRes 4K UHD Sensor Mode 6:5 2578 x 2160 used for 6:5 ARRIRAW 2.6K 2560 x 2146 down sampled to 2048 x 858 for 6:5 ProRes 2K Anamorphic 2560 x 2146 re-sampled to 4096 x 1716 for 6:5 ProRes 4K Anamorphic Sensor Mode 4:3 2880 x 2160 used for 4:3 ARRIRAW 2.8K 2880 x 2160 used for 4:3 ProRes 2.8K Sensor Mode Open Gate 3424 x 2202 used for Open Gate ARRIRAW 3.4K 3424 x 2202 used for Open Gate ProRes 3.4K 3414 x 2198 up sampled to 4096 x 2636 for Open Gate ProRes 4K Cine
Operating Modes	16:9, 6:5, 4:3 or Open Gate sensor modes. Switching takes approx. 60 seconds. All sensor modes available in ARRIRAW and ProRes.
Frame Rates	16:9 0.75 - 120 fps 6:5 0.75 - 96 fps 4:3 0.75 - 96 fps Open Gate 0.75 - 90 fps All speeds adjustable with 1/1000 fps precision. Some limitations based on recording media or recording format apply.
Shutter	Electronic rolling shutter, 5.0º - 358.0º up to 60 fps; 5.0° to 356° above 60 fps. Shutter angle adjustable with 1/10 degree precision.
Filters	Permanent filters in front of the sensor: optical low pass, UV, IR. Includes a built-in Internal Filter Module (IFM-1) filter holder that accepts one of eight Full Spectrum Neutral Density (FSND) filters through manual insertion/removal.
Exposure Latitude	14+ stops for all sensitivity settings from EI 160 to EI 3200, as measured with the ARRI Dynamic Range Test Chart (DRTC).
White Balance	Presets for 3200 (tungsten), 4300 (fluorescent), 5600 (daylight) and 7000 (daylight cool). Automatic calculation or manual white balance for 2000 to 11000 Kelvin, adjustable in 100 K steps
Color Correction	While white balance changes the red/blue hue of the image, color correction changes green/magenta. Adjustable range from -12 to +12 CC. 1 CC corresponds to 035 Kodak CC values or 1/8 Rosco values.
Sound Level	Under 19 db(A) while recording ProRes 4444 16:9 HD @ 24 fps and ≤ +30° Celsius (≤ +86° Fahrenheit) with lens attached and fan mode set to 'Regular', measured 1 m/3 feet in front of the lens. Silent operation at higher temperatures possible with fan mode set to 'Rec low'.
Power In	Three possible inputs: BAT connector, optional battery adapter back or optional battery adapter top. All inputs accept 10.5 to 34 V DC. Approx. 90 W power draw for camera and EVF-1 in typical use recording ProRes at 24 fps to an SxS PRO card at room temperature, without accessories. Initial power draw during power up is higher.
Power Out	12 V connector: limited to 12 V, up to 2.2 A. RS, EXT and ETHERNET: input below 24 V is regulated up to 24 V; above 24 V: input voltage = output voltage. RS and EXT connectors combined are limited to 2.2 A. ETHERNET is limited to 1.2 A. Maximum power draw is also limited by the power source.
Weight	ALEXA SXT EV body with PL mount: 6.5 kg/14.3 lbs. ALEXA SXT EV body with PL mount, electronic viewfinder, viewfinder cable, viewfinder mounting bracket and handle: 8.0 kg/17.7 lbs.
Dimensions	ALEXA SXT EV body with PL mount: Length: 331 mm/13.03”, width: 166 mm/6.54”, height: 157.8 mm/6.21”
Environmental	-20° C to +45° C (-4° F to +113° F) @ 95% humidity max, non-condensing. Splash and dust proof through sealed electronics. System cooling through radiator/single fan.
Lens Mount	54 mm stainless steel LDS PL mount, Super 35 centered. 52.00 mm nominal flange focal depth without FSND filters.
Viewfinder	Low latency (≤1 frame delay) electronic color viewfinder ARRI EVF-1 with 1280 x 784 F-LCOS micro display (image: 1280 x 720, status bars: 1280 x 32 above and 1280 x 32 below image) and ARRI LED illumination, both temperature controlled. Image can be flipped for use of viewfinder on camera left or right. Viewfinder 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 magnification 'pixel to pixel'), EXP button (false color exposure check) and jog wheel.
Assistive Displays	For EVF-1 and MON OUT: preset and custom frame lines, user rectangles, surround view, 180º image rotation, camera status, false color exposure check, peaking focus check, compare stored image with live image, RETURN IN video and anamorphic de-squeeze. For MON OUT additionally: Reel & clip number.
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 and button lock. Camera acts as a web server, displaying the ALEXA Web Remote on web browsers of computers connected to ETHERNET connector. Optional accessory Remote Control Unit RCU-4 for cabled remote control via camera ETHERNET connector. Optional accessory Wireless Compact Unit WCU-4 for wireless remote control (UMC 3A or UMC-4 required).
Recording Codecs	Uncompressed and unencrypted ARRIRAW or compressed and unencrypted QuickTime/ProRes recording. All formats include embedded audio, timecode and metadata.
Recording Media	SxS PRO or SxS PRO+ cards (requires SxS Adapter 2) CFast 2.0 cards (requires CFast 2.0 Adapter 2) XR Capture Drives (requires XR Adapter) SXR Capture Drives (requires SXR Adapter) Note: XR Capture Drive Docks require Codex Production Suite to read XR Capture Drives recorded with ALEXA SXT.
Supported Media	SxS PRO 64 GB (SBP-64A) SxS PRO+ 64 GB (SBP-64B & SBP-64C) SxS PRO+ 128 GB (SBP-128B & SBP-128C) LEXAR 3600x CFast 2.0 cards 256 GB XR Capture Drives 512 GB SXR Capture Drives 1 TB SXR Capture Drives 2 TB
Monitor Outputs	3x MON OUT BNC connector for uncompressed 1.5 G HD-SDI video: 1920 x 1080 (16:9), 4:2:2 YCbCr; legal range HD video at 23.976, 24, 25, 29.97, or 30 fps. Embedded audio, time code, metadata and recording flag.
Image Processing	16 bit linear internal image processing in full ALEXA Wide Gamut/Log C color space. Target output color spaces: Log C, Rec 709 or Rec 2020. An ARRI Look File (ALF-2) containing the name of the target color space, CDL values and a 3D LUT can be applied to ProRes or MON OUT images and will be saved in metadata. Optional horizontal image mirroring.
Synchronization	Master/Slave mode for precision sync of settings, sensor, processing, HD-SDI outputs and ARRIRAW or ProRes recording for 3D applications. PHASE user button for shifting camera phase to move phase artifacts out of frame, i.e. when shooting a CRT monitor or rear screen projector (works in Rec Run TC mode).
Playback	Playback of ARRIRAW or ProRes recorded material visible on EVF-1 and MON OUT. Playback audio available over headphone jack and embedded in the MON OUT signal.
Audio	1x XLR 5 pin AUDIO IN for 2 channel, line level, balanced audio. 24 bit/48 kHz A/D conversion. Uncompressed PCM audio recording to ARRIRAW, ProRes and embedded in all HD-SDI outputs. Only available with same project/sensor speed at 23.976, 24, 25, 29.97 and 30 fps. Max of 2.5 dBm output from AUDIO OUT headphones connector.
Connectors	1x media slot 3x BNC monitoring out HD-SDI, 1.5G MON OUT 1x XLR 5-pin analog audio in AUDIO IN 1x BNC return video in HD-SDI, 1.5G RET/SYNC IN 1x LEMO 16-pin external accessory interface EXT 1x Fischer 2-pin 24 V power in BAT 2x Fischer 3-pin 24 V remote start and accessory power out RS 1x LEMO 2-pin 12 V accessory power out 12 V 1x LEMO 5-pin timecode in/out TC 1x TRS 3.5 mm headphone mini stereo jack AUDIO OUT 1x custom LEMO 16-pin electronic viewfinder EVF 1x custom LEMO 10-pin Ethernet with 24 V power ETHERNET BNC connectors are designed for fast exchange without camera disassembly. These connectors require a special tool (ALEXA Plus BNC Removal Tool, K5.72915.0).
SD Card	For importing and storing of ARRI Look Files, camera set up files, frame line files and user pixel masks. Stores frame grabs in ARRIRAW (.ari, 12 bit), TIFF (.tif, 16 bit), DPX (.dpx, 10 bit) or JPEG (.jpg, 8 bit) format. Stores log files. Also used for installing Software Update Packets (SUPs).
Upgrades	The Storage Interface Module can be exchanged for future storage modules. The Electronics Interface Module (available as either regular ALEXA or ALEXA Plus versions) can be exchanged for future control electronics. An easily exchangeable lens mount allows other lenses beyond LDS PL mount lenses to be used. Simple camera software updates via free of charge Software Update Packets (SUPs).
	Note: Technical data based on SXT Software Update Packet SUP 1.0. All data subject to change without notice.

ARRI ALEXA SXT

THE BEST JUST GOT BETTER

Arri Alexa SXT Description

Features

Specs

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