The ALEXA XT M is a flexible solution consisting of a separate camera head and body; it is tailored for action and aerial photography, tight corner shots and 3D productions, and any application or environment that would challenge a full-sized ALEXA. Based on cutting edge ARRI technologies, the M model features the same sensor, image processing, build quality, efficient workflows and exceptional image quality that have made ALEXA such a worldwide success. The head and body of the M are connected with a fiber optic cable, which in a hybrid form can also be used for powering the head. Weighing well under 3 kg, the compact front end offers multiple mounting points and versatile maneuverability. Meanwhile the body provides various options for recording images, sound and metadata, accommodating all workflows of the standard ALEXA XT.
Like all ALEXA XT cameras it has in-camera ARRIRAW recording, internal ND filtration, a 4:3 Super 35 sensor, LDS PL mount, included anamorphic de-squeeze and high speed licenses as well as a new, super silent fan.
Please note that the ALEXA XT M is not yet available for sale. This is planned for June 2013.
|Camera Type||35 format film-style digital camera with separate camera head and body, an electronic viewfinder, a 4:3/16:9 switchable active sensor area, built-in filter holder, Lens Data System.|
|Sensor||35 format ALEV III CMOS sensor with Dual Gain Architecture (DGA) and Bayer pattern color filter array.|
|Photo Sites 16:9||2880 x 1620 used for ARRIRAW
2880 x 1620 down sampled to 1920 x 1080 for HD-SDI, ProRes HD and DNxHD HD
2868 x 1612 down sampled to 2048 x 1152 for ProRes 2K
|Photo Sites 4:3||2880 x 2160 used for ARRIRAW
2868 x 2150 down sampled to 2048 x 1536 for ProRes 2K
|Operating Modes||16:9 or 4:3 sensor mode. Switching takes approx. 60 seconds. 4:3 output only available for ARRIRAW and ProRes 2K recording.
Regular or High Speed mode. Switching takes approx. 40 seconds. High Speed mode is only available for 16:9 sensor mode.
|Frame Rates 16:9||0.75 – 120 fps
60 fps max when recording 2K ProRes (16:9 and 4:3).
40 fps max when recording ProRes 4444 onto 32 GB SxS PRO cards.
All speeds adjustable with 1/1000 fps precision. To record above 60 fps, the camera needs to be switched to high speed mode.
|Frame Rates 4:3||0.75 – 48 fps
40 fps max when recording any 4:2:2 ProRes codec onto 32 GB SxS PRO cards.
30 fps max when recording ProRes 4444 onto 32GB SxS PRO cards.
All speeds adjustable with 1/1000 fps precision
|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.|
|Filter||Built-in Internal Filter Module (IFM-1) filter holder. Accepts one of eight Full Spectrum Neutral Density (FSND) filters, 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).
For a graphic of how the exposure latitude shifts at different EIs, click here
Values behind the exposure index are the number of stops above and below 18% grey. These values are for Log C. Rec 709 and DCI P3 are the same except for 0.5 stops fewer in the low end at EI 160, 0.4 stops fewer in the low end at EI 200 and 0.2 stops fewer in the low end at EI 400.
|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 -8 to +8 CC. 1 CC corresponds to 035 Kodak CC values or 1/8 Rosco values.|
|Sound Level||Under 19 db(A) while recording ProRes @ 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 on all inputs. 95 W power draw for body in typical use recording to SxS PRO cards, without accessories. 40 W power draw for head in typical use recording ProRes at 24 fps to an SxS PRO card without accessories. A 24 V power input to the body is required to power the camera head from the body through a standard SMPTE 311M hybrid fiber cable up to 50 meters, without accessories. The camera head has one 10.5 to 34 V DC power input that can be used to optionally power the head independently from the camera body to allow greater distances between head and body.|
|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. The camera head offers two RS connectors and one ETHERNET connector, with the same specifics as on the camera body.|
|Weight||ALEXA XT M head: 2.9 kg/6.4 lbs.
ALEXA XT M body with XR Module: 5.8 kg/12.8 lbs.
|Dimensions||Head: Length: 212 mm/8.35”, width: 129 mm/5.08”, height: 149 mm/5.87”
Body: Length: 323 mm/12.72”, width: 161 mm/6.33”, height: 158 mm/6.22”
|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||ARRI Exchangeable Lens Mount (ELM); ships with Lens Adapter PL Mount with LDS contacts, 54 mm stainless steel PL mount, Super 35 centered. 52.00 mm nominal flange focal depth without FSND filters.|
|Viewfinder||Optional electronic 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 pixel to pixel magnification), EXP button (false color exposure check) and jog wheel.|
|Assistive Displays||For EVF-1 and MON OUT: frame lines, surround view, 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 only: Reel & clip number.
For a graphic of which false colors indicate which exposure level, click here
|Control||Camera body right: Main user interface with a 3” transflective 400 x 240 pixel LCD color screen, illuminated buttons, button lock and jog wheel. Camera body left: Operator interface with illuminated buttons and button lock. Camera head: REC button and POWER button (POWER button is active when head is run by local power supply through the head's BAT input). Optional accessory RCU-4 for remote control via camera ETHERNET connector.|
|In-camera Recording||In camera body: uncompressed and unencrypted ARRIRAW, compressed and unencrypted QuickTime/ProRes or compressed and unencrypted MXF/DNxHD (1) recording onto XR Capture Drives. With SxS Adapter: QuickTime/ProRes or MXF/DNxHD (1) onto SxS PRO cards. All formats include embedded audio, timecode and metadata.|
|Recording Outputs||2x 1.5G or 3G REC OUT BNC connectors for uncompressed 1920 x 1080 4:4:4 RGB or 4:2:2 YCbCr HD video at 23.976, 24, 25, 29.97, 30, 50, 59.94, or 60 fps. Recording other speeds requires a recorder with Variflag support. Legal or extended range signal mapping. Embedded audio, time code, metadata and recording flag. ALEXA XT models do not offer ARRIRAW T-Link output.|
|Monitor Output||1x 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. Target color spaces for ProRes, DNxHD (1), REC OUT and MON OUT: Log C and Rec 709. For Rec 709, a customized look can be applied during record and playback with ARRI Look Files. Optional horizontal image mirroring.|
|Synchronization||Master/Slave mode for precision sync of settings, sensor, processing, 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.|
|Playback||Playback of ARRIRAW, ProRes or DNxHD (1) from XR Capture Drive or playback of ProRes or DNxHD (1) from SxS PRO card visible on EVF-1, MON OUT and REC OUT. Playback audio available over headphone jack and embedded in the MON OUT and REC 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, DNxHD (1) 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 (body)||1x media slot for XR Capture Dive or SxS adapter
2x BNC recording out HD-SDI, 1.5G/3G (REC OUT 1 and REC OUT 2)
1x 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 10-pin service Ethernet with 24 V power (ETH)
1x LEMO SMPTE 304M hybrid fiber connector (OPTICAL LINK)
BNC connectors designed for fast exchange without camera disassembly. Requires a special tool.
|Connectors (head)||1x LEMO SMPTE 304M hybrid fiber connector (OPTICAL LINK)
1x LEMO custom 16 pin electronic viewfinder (EVF)
1x Fischer 2 pin 24 V power in (BAT)
2x Fischer 3 pin 24 V remote start and accessory power out (RS)
1x custom LEMO 10 pin service Ethernet (ETH)
BNC connectors designed for fast exchange without camera disassembly. Requires a special tool.
|SD Card||For importing and storing ARRI Look Files, camera set up files, frame line files, feature license keys and custom lens tables for the Lens Data Archive (LDA). Stores captured stills from the REC OUT image path during Regular Speed (not High Speed) in 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 can be exchanged for future control electronics. Exchangeable Lens Mount (ELM) allows other lenses beyond PL mount lenses to be used. Simple camera software updates via free of charge Software Update Packets (SUPs) and payable license keys – Anamorphic De-squeeze (included), High Speed (included) and DNxHD (not available for SUP 8.0 at this time).|
|(1) DNxHD recording not possible with SUP 8.0, planned for SUP 9.0|
|Note: Technical data based on Software Update Packet (SUP) 8.0. All data subject to change without notice.|
ALEXA XT M Features
Separate camera head and body
By separating the small and light weight ALEXA M head from the body, the ALEXA M offers the greatest flexibility in terms of physically positioning the camera. This is extremely useful for hand held operation, action sequences, aerial photography and 3D productions. In fact, any time physical space is tight, like in a car or small set, the ALEXA M is the perfect tool to get the shot with ALEXA image quality. An added benefit is the fact that the body, which holds the XR Capture Drive or SxS PRO card, can be positioned in a location that is easier accessible than the head. So changing magazines is very easy and convenient without having to land the helicopter, stop the car, bring the crane down or climb over 3D rigs.
Multiple mounting points on top and bottom of the head and a number of smart mounting accessories allow an easy integration into hand held, aerial underwater or 3D rigs. Head and body are connected with a fiber optic cable that can also be used for powering the head, depending on distance. The backend provides all the features of the ALEXA XT, including all its recording options. With the ALEXA M D bracket it is even possible to mount head and body together on a tripod (see image below).
The head and body of the ALEXA M XT are connected with a high performance fiber-optic cable, which in a hybrid form can be used for transmitting the images and powering the head at a distance of up to 50 m/160 ft. If the head is powered separately, the distance between head and body can be increased up to approx.1 km/0.6 miles.
When put inside the ALEXA M Cage AMC-1, the mounting options of the camera-head are extended by multiple 3/8"-16 UNC threaded holes, 15 mm rod receptacles, and rosettes for attaching hand grips.
ALEXA XT Family Features
Faster, lighter and more affordable ARRIRAW
All ALEXA XT cameras come with the new XR Module (Extended Recording), a side panel that was co-developed with Codex and that replaces the previous SxS Module. The XR Module allows in-camera ARRIRAW recording up to 120 fps onto exceptionally fast and rugged 512 GB XR Capture Drives. This not only makes for a smaller, lighter and more affordable camera package, it also simplifies setup and operation while avoiding unnecessary cabling. The result is an even faster and more reliable way to record ARRIRAW, ALEXA's highest quality image output.
Once removed from the camera, the XR Capture Drive offers a number of different paths into post for every budget and time schedule demand, using the proven Codex workflow. First, the small and affordable Single Dock USB3 allows safe copying of data to a Retina MacBook Pro. Second, the Dual Dock can make clones of XR Capture Drives and connect to a Mac Pro via SAS (Serial Attached SCSI) for high speed copying. The included software provides all features for an efficient digital lab. And third, the Codex Vault is a modular, rugged and complete solution for copying, archiving, metadata management, reporting or dailies creation with the greatest ease and highest speed.
Faster and longer ProRes/DNxHD in-camera recording
In addition to ARRIRAW it is also possible to capture ProRes or DNxHD (1) to an XR Capture Drive for significantly longer recording times as well as ProRes 4444 recording at 120 fps. ProRes 4444 at 24 fps can be recorded for a total time of 107 minutes. And recording onto SxS PRO cards is also possible: with an SxS Adapter it is possible to record ProRes or DNxHD to a single SxS PRO card, thus protecting the inventory of existing cards.
As an extra feature, the black protective top cover of the XR Module can be replaced with red, green, blue, yellow or white top covers to identify A, B, C, D, E and F camera units.
(1) DNxHD recording not possible with SUP 8.0, planned for SUP 9.0
High quality internal full-spectrum ND filters
The In-camera Filter Module IFM-1 allows a rating at the base sensitivity of EI 800 without the need for external Neutral Density (ND) filters, even in bright sunlight. Filtering behind the lens rather than in front saves time and reduces weight, reflections and complexity. In addition it decreases narcissism, which is an unwanted reflection between the last lens element and the sensor and protects the sensor from dirt contamination during lens changes.
The FSND (Full Spectrum Neutral Density) filters used with the IFM-1 are based on a number of high-tech manufacturing methods that are very different from common external filters. A neutral color balance at all densities is achieved through a broadband absorptive coating that attenuates the full spectrum. To maintain a high contrast, an anti-reflective multi-coating reduces internal reflections. A sharp image is assured through a base of water-white optical glass that is precision polished to create perfectly parallel surfaces. While all ALEXA XT cameras come with the IFM filter holder installed, the FSND filters are available separately in 8 densities from ND 0.3 to ND 2.4 plus an optical clear.
True anamorphic with a 4:3 sensor
For the most effective use of anamorphic lenses, each ALEXA XT model is equipped with a 4:3 sensor of the same size and shape as a Super 35 mm film frame. This is perfect for the 1.195:1 aspect ratio image area needed by anamorphic lenses. An aspect ratio of 1.195:1 results from the anamorphic aspect ratio 2.39:1 divided by the anamorphic horizontal squeeze ratio of 2. A 4:3 sensor is crucial for delivering the unique and cinematic widescreen look that can trace its origins back to the CinemaScope films of the 1950s. It is a look that has long been appreciated by Lincoln 1cinematographers, directors and the viewing public. An anamorphic de-squeeze license is included with all ALEXA XT cameras, as is a high speed license for filming at up to 120 fps. The 4:3 sensor is also useful for non-anamorphic productions as it permits significant reframing of the image in post, similar to shooting 4-perforation 35 mm.
More efficient VFX through lens metadata
Lens metadata is invaluable for efficient working on the set and for a speedy VFX post workflow, which is why all ALEXA XT models are equipped with an LDS lens mount and is why all ALEXA XT models insert a plethora of metadata into all recording and output formats.
On the set, streaming lens metadata is used for an overlay in the ALEXA display, viewfinder or MON OUT image. In addition, it is used by the Wireless Compact Unit WCU-4 for an easy to use graphical lens display and. At the same time, the HD-SDI image carries streaming lens metadata (as raw encoder pulses and as interpreted lens data) which can be displayed on some monitors or used for real-time virtual set applications.
Compositing in post is greatly sped up through the use of lens metadata carried inside the ARRIRAW, ProRes or DNxHD files. The lens metadata allows to automatically match the computer graphic (CG) images to the images taken with the real lens, a process that used to take a long time of manual tweaking in the past. In the example below, a Lincoln car was inserted through computer graphics into an image that was shot with a stunt car. The lens metadata was used to exactly duplicate the focus, depth of field, perspective and minor distortions introduced by the real lens.
Over 41 ARRI lens models have LDS built-in, including the ARR/Zeiss Master Anamorphics, ARRI/Zeiss Master Primes, ARRI/Zeiss Master Macro 100, ARRI/Zeiss LDS Ultra Primes, ARRI/Zeiss Master Zoom 16.5-110, ARRI/Fujinon Alura Lightweight Zoom 15.5-45 and ARRI/Fujinon Alura Lightweight Zoom 30-80. Support for the Cooke /i system is in the works. For all other lenses it is possible to gather lens metadata by using an ARRI lens motor and a lens table stored in the camera (Lens Data Archive).
Safely carry CDL color correction metadata into post
An increasing number of productions are setting up on-set color correction systems so the cinematographer can create and monitor a pre-grade of the footage. The resulting ASC CDL (American Society of Cinematographers Color Decision List) can be automatically transferred to the ALEXA XT cameras and stored as ARRIRAW metadata, for fast and convenient retrieval in post.
Viewfinder Mounting Bracket VMB-3
To provide maximum comfort for the operator, the new Viewfinder Mounting Bracket VMB-3 has a much stronger and more rigid design, partially achieved through the use of two 15 mm lightweight rods. These rods also facilitate rapid changes in camera support, i.e. from a tripod to a crane or Steadicam, since accessories such as lens motors or follow focus units can be hung from them rather than cluttering up the base plate. A special anodizing process is used on all moving parts for a very hard yet low-friction surface and a bubble level allows for speedy leveling of the camera.
Also available as a separate accessory is the new Viewfinder Extension Bracket VEB-3, with a more sturdy design and a fold-out arm that holds the viewfinder securely in place when moving the camera.
Super Silent ALEXA XT Fan
ALEXA cameras are already among the quietest digital cameras, but an even quieter fan has become available and ARRI has incorporated this new fan into the ALEXA XT models, providing an extra safety margin in very quiet or hot environments. The new fan can be identified by an orange dot on top.
ALEXA Classic and ALEXA XT Family Features
Exceptional Image Performance
All ALEXA cameras provide the best looking digital image with the least amount of fuss. They all have the same high end optical low pass filter, a custom made CMOS sensor and custom electronics and processing software. These components are carefully designed to produce images with the organic look and feel of film. The sensor provides an unequalled exposure latitude of 14 stops with special consideration given to highlight treatment. Creating a good looking roll-off in the highlights is probably one of the most difficult tasks for any sensor designer and we have spent enormous resources at insuring exceptional highlight handling. ALEXA's high sensitivity and its ability to hold up very well even when extremely under or overexposed make it very easy to work with. ALEXA’s color processing was developed by our own color scientists (who are the same people that have been working on the ARRILASER and ARRISCAN, so are intimately familiar with both film and digital color science) to render clean and natural colors, especially noticeable in ALEXAs great looking skin tones.
Efficient and Versatile Workflows
ALEXA represents the most efficient and versatile method to capture and then transport images, audio and metadata through the production process. This is achieved with a multitude of output options, support for the native codecs of the most popular non-linear editors, complete metadata and integrated color management. So disregarding if you want to shoot a low budget TV series or Martin Scorsese’s next big Hollywood feature, you can configure an ALEXA for the task at hand. This also make rentals happy, who can use the same product for many different customer demands.
Simple and Safe Operation
We know what it is like to try to change frame rate and shutter angle at 4:00 in the morning in the rain after a long night shoot. We know that a camera needs to be very simple to operate, and it needs to make sure that you get a good image, no matter what. With ALEXA we have developed a user interface that is easy to learn and quick to operate. And the same interface is used on all models of ALEXA, with the same menu, buttons, etc., so there is no learning curve when using another model ALEXA. The hardware of the camera is designed for the best and most ergonomic use on the set, including the built-in shoulder cut-out, large numbers of accessories like the low mode set or the Remote Control Unit RCU-4, down to little details like differently shaped extrusions (eyebrows) above some buttons so the operator can feel the button’s position even from the other side of the camera or shooting in low light.
ALEXA cameras are part of a long heritage of cameras from ARRI, and we are very familiar with the sometimes horrid conditions our cameras have to endure in the field. So ALEXAs are built rugged and reliable with a sealed electronics compartment, a unique cooling system and the most stable lens/sensor mount that German engineering could devise.
The camera’s electronics are housed in a sealed compartment in the center of the body. The heat generated by the sensor and the electronics is transported via heat pipes to a radiator located in a ventilation shaft at the back of the camera. A single, slow running silent fan cools the radiator. If need be, the fan can be easily exchanged. This system ensures effective, active cooling of the sensor and processing boards even in the hottest climates. At the same time it protects the electronics, thereby rendering the camera splash and dust proof.
To further improve the legendary stability of the ARRI lens mount, ALEXA is equipped with a novel lens and sensor mount design. The stainless steel lens mount is attached to a stainless steel distance barrel, which itself is attached to the sensor mount, which also holds the sensor board. The whole unit is then attached to the camera body. By creating a fixed link between lens and sensor (all the orange parts in the second drawing), a super stable flange focal depth is ensured - even if strong mechanical influences are applied to the lens mount, such as when a heavy zoom lens is not properly supported. Using stainless steel ensures minimum material expansion or contraction during temperature changes.
Open, future-proof architecture
We have worked closely with a number of innovative companies such as Apple, Avid, FUJINON, ZEISS and others to integrate their technologies. Thus ALEXA is compatible with many existing industry standards and with lenses, accessories and post production tools that are already well established all over the world, including Apple’s ProRes, Avid’s DNxHD, the HD-SDI standard, Gold or V-mount on-board batteries, the cmotion lens control system and both 12 and 24V accessory power outputs. The result is a future-proof system based on an open architecture; the result is simply the most complete and powerful digital production system ever built.
To protect our customers’ investment in ALEXA, four major components are specifically designed to allow an easy upgrade and to add new features in order to extend its useful life. First, taking into account the rapid rate of change in storage technologies, the in-camera recording module is removable, featuring an SxS Module for ALEXA Classic cameras (which can be exchanged for an XR Module) or an XR Module for ALEXA XT cameras. Second, the camera control electronics, which comprise the whole right side of the camera, can be removed and replaced with an upgraded electronics with advanced features (like the Plus upgrade). Third, the Exchangeable Lens Mount (ELM) system allows the use of PL or Panavision lenses, further expanding creative options. And finally, the camera’s software is designed in such a way that it can be quickly and easily upgraded with our free Software Upgrade Packets to provide new and exiting features like ProRes 2K or ProRes 4:3 in-camera recording.
ALEXA Electronic Viewfinder EVF-1
This viewfinder was specifically designed to meet the needs of professional camera operators by offering an extremely low latency image display, high image quality, accurate color reproduction and a number of features inherited from our optical viewfinders, including a peripheral viewing area (surround view).
It is critical to the camera operator that the action in the viewfinder can be seen almost at the same time as the action in front of the camera. The extremely fast image display of the EVF-1 has been made possible through the creation of a proprietary high speed connection between the viewfinder and the camera, as well as a shared image processing architecture that maximizes the processing power of both camera and viewfinder. The ALEXA EVF-1 is unique with its image delay of under one frame.
A stable, accurate and high quality image is important for the camera operator. The EVF-1 image exhibits high resolution, high contrast, low distortion and an evenly illuminated viewing area. All this has been made possible through a state-of-the-art F-LCOS (Ferroelectric Liquid Crystal On Silicon) micro display with 1280 x 768 pixel resolution, a high screen refresh rate and an ARRI optical design that employs the highest quality coated glass optics. Reliable contrast and color reproduction at all temperatures are assured through a careful thermal stabilization of both the FLCOS display and the ARRI custom LED light engine.
The EVF-1 has not only been developed to provide the best possible image, but is also specifically designed to fit the ergonomic needs of the operator. Even when using a matte box on a short prime lens, the compact dimensions of the finder guarantee that the eyepiece can be adjusted to a comfortable position for shoulder operation. The small, self-contained unit is easily mounted in different positions: on the side for handheld, or further back through a telescoping extension for use with a geared head.
Straightforward operation is assured through a plethora of assistive displays in the viewfinder (and on the MON OUT as well), including: frame lines, surround view, camera status, false color exposure check, peaking focus check, compare stored image with live image, RETURN IN video and optional anamorphic de-squeeze (license key required on some ALEXA Classic cameras). A number of ergonomically placed buttons allow access to frequently used functions such as zoom and exposure assist. The viewfinder’s settings, as well as basic camera settings, can be changed by the operator directly on the EVF-1.
Showing their heritage, ALEXA and the EVF-1 have been designed to provide some features that previously have only been available through optical viewfinders. Most important for the operator is the fact that the camera’s sensor is slightly oversized to provide an extra area around the primary image in the viewfinder. This allows lighting stands, microphones, etc. to be spotted before ruining the shot. Additionally, the size of the image in the EVF-1 has been chosen to equal that of the image in the ARRIFLEX 235’s optical viewfinder.