ARRI ALEXA MINI

UNCOMPROMISED IMAGE QUALITY FOR SPECIALIZED SHOTS

• 4:3 sensor for anamorphic productions
• Uncompressed ARRIRAW up to 30 fps
• ProRes up to 200 fps
• In-camera recording to CFast 2.0 memory cards
• Cost-efficient in-camera grading
• Exchangeable PL, B4 and EF lens mounts

The overwhelming advantage of the ALEXA Mini is that it marries such a compact and lightweight form factor with the same unparalleled image quality that has made the ARRI ALEXA system a gold standard for the industry. Combine the Mini with any other ALEXA camera and you will have perfectly matched images, even on anamorphic productions – thanks to the 4:3 sensor and automatic de?squeeze function. Workflows will also be identical, with options to record ProRes or uncompressed ARRIRAW either in-camera to CFast 2.0 cards or to a specially-designed external Codex recorder.

STRENGTH AND AGILITY THROUGH STATE-OF-THE-ART MATERIALS

• Lightweight carbon housing
• Solid titanium PL Mount
• Highly integrated and sealed electronics
• Super-stable titanium sensor mount

To maintain ARRI’s famously rugged build quality in a small and lightweight camera, a number of unique design solutions have been incorporated. These include highly integrated and sealed electronics, a lightweight carbon housing and a solid titanium PL mount that connects directly with the new internal sensor mount – also made of titanium – to ensure a super-stable flange focal distance, even when using large lenses. Nimble in use and hardy on set, the ALEXA Mini is a go-anywhere tool, easy to transport in backpacks or as carry-on luggage.

With the ALEXA Mini, no extra time need be spent on set configuring third-party cameras previously required for specialized shots, or on wrangling the image files coming out of them. Multi-camera setups such as 360° plate shots will be made simpler and faster by the external Codex recorder, which can record image streams from up to four ALEXA Minis simultaneously. The camera’s maximum frame rate of 200 fps means it can also be used for stunning slow-motion cinematography, saving further time and money on set by doing away with the need for a separate high-speed camera.

In the past, productions combining small cameras from other manufacturers with an ARRI ALEXA shooting kit have encountered time-consuming difficulties in the grade, trying to match images from those cameras to ALEXA’s famously natural colorimetry and pleasing skin tones. With the ALEXA Mini these difficulties are eliminated because all images come from the same sensor and share the same color space. The ability to use CDLs and 3D LUTs in-camera for on-set color management will also reduce time and money spent in post.