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Alexa SXT Plus

The All-Rounder

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

ALEXA SXT Family Features


BEST OVERALL IMAGE QUALITY

  • Film-like, organic look
  • High Dynamic Range
    • 14+ stops dynamic range over the entire EI range as measured with the ARRI Dynamic Range Test Chart
    • future proof for High Dynamic Range (HDR) displays
    • 16 bit in-camera processing
    • gentle highlight roll-off
    • low noise floor
    • holds up extremely well when over or underexposed
  • Sharp, natural images for HD, 2K, 4K UHD and 4K Cine deliverables
  • Unique tall sensor is ideal for anamorphic shooting
  • High Frame Rate (HFR)
    • up to 120 fps in full image quality
  • High sensitivity
    • true base sensitivity of EI 800
    • adjustable from EI 160 to EI 3200
  • ARRI color science
    • natural color reproduction, especially for skin tones
    • excellent color separation
    • great at resolving mixed color temperature sources
    • optional mild ARRI Noise Reduction (ANR)

SIMPLE AND SAFE OPERATION

  • ARRI Product Quality
    • Rugged and reliable
    • sealed electronics compartment
    • unique cooling system
    • stable lens mount/sensor holder
    • continuous file closing protects footage
    • ARRIRAW checksum for safe and fast downloading
    • self-healing metadata
    • three auto-switching power inputs
  • Intuitive, easy to use controls
    • same interface on all ALEXA models
    • on-camera and EVF-1 controls
    • remote control through WCU-4, RCU-4 and Web Remote
  • High quality internal Full Spectrum Neutral Density (FSND) filters
    • neutral color balance at all densities from ND 0.3 to ND 2.4
  • High quality electronic viewfinder
  • Powerful assistive displays, including
    • surround view
    • anamorphic de-squeeze
    • false color exposure check
    • smooth mode for better motion portrayal
    • peaking focus check
    • electronic horizon
    • compare stored image with live image
    • RETURN IN video
  • Well balanced, ergonomic body design
  • Global ARRI service network

EFFICIENT AND VERSATILE WORKFLOWS

  • Multiple recording and monitoring options
    • record/playback ARRIRAW or ProRes
    • multiple recording media
    • great choice of 14 recording formats
    • ARRI Look Management
    • super flexible on-set monitoring
    • embedded rich metadata in ARRIRAW, ProRes and HD-SDI out
  • In-camera ARRIRAW
    • uncompressed, unencrypted raw sensor data
    • maximum image quality from ALEXA
    • greatest flexibility in post
    • best option for future-proof archiving
    • published in SMPTE RDD 30 and 31
  • In-camera Apple ProRes
    • small files through compressed color image data
    • native Final Cut Pro X support
    • ProRes HD, 2K, 3.2K and 4K
    • ProRes 422, 422 HQ, 4444 and 4444 XQ
    • in-camera de-squeezed anamorphic formats
    • redundant, safe recording to XR and SXR Capture Drives
    • pre-recording
  • Multiple recording media
    • XR and SXR Capture Drives
    • SxS PRO and SxS PRO+ cards
    • CFast 2.0 cards
  • 14 recording formats
    • Carefully fine-tuned recording options for any production
    • All sensor modes in ARRIRAW and ProRes
    • Multiple resolutions: HD, 2K, 3.2K, 3.4K, 4K UHD and 4K Cine
    • In-camera de-squeezed ProRes for most economical anamorphic shooting
  • ARRI Look Management
    • Comprehensive look management from preproduction to post
      • maintains, protects and shares the cinematographer’s intended look on-set, in dailies and in editing
      • wide range of unique looks possible
      • same look file and tools for ALEXA SXT, ALEXA Mini (SUP 4.0) and AMIRA (SUP 4.0)
      • new ARRI Look File contains name of target color space, CDL values and 3D LUT
    • ARRI Look File is always stored in metadata for
      • live grading on set
      • automated dailies creation
      • editing with looks
  • Super flexible on-set monitoring
    • High Dynamic Range (HDR) monitoring
    • four independent monitoring outputs
    • Rec 709 or Rec 2020 monitoring output
    • frame grabs in various formats and resolutions
    • streaming metadata in HD-SDI for immediate use
  • Stand-alone applications
    • ARRIRAW Converter (ARC)
    • ARRI Color Tool (ACT)
    • ARRI Meta Extract (AME)
  • Stand-alone online tools
    • ALEXA Camera Simulator
    • ARRI Lens Illumination Guide
    • ALEXA Frameline Composer
    • LUT Generator
  • Shared code with third parties

OPEN, FUTURE-PROOF ARCHITECTURE

  • Compatibility with industry standards
    • Super 35 PL mount and Panavision mount lenses
    • Apple ProRes, HD-SDI
    • SxS PRO, SxS PRO+ and CFast 2.0 cards
    • Gold mount or V-lock on-board batteries
    • 12 or 24 V power inputs and outputs
    • support for ARRI ECS and cmotion cvolution wireless lens control systems
  • Shared code through ARRI Partner Program
    • ARRIRAW Software Developers Kit (SDK)
    • ARRI Look Management library
    • Camera Access Protocol (CAP)
    • ARRI Metadata Bridge (AMB) library
    • White papers and information about ARRI color science
  • Flexible upgrade options
    • upgradable in-camera recording module
    • upgradable electronics interface module (Plus side panel)
    • Exchangeable Lens Mount (ELM)
    • free Software Update Packets (SUPs)
  • Long and reliable product cycles

Future proof images for 4K, HDR, WCG, HFR

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.&nb

Great choice of recording formats

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

16:9 ProRes 4K UHD
The easiest and fastest path to the best 4K UHD image, offering the immediacy and speed of ProRes in the UHD distribution standard of 3840 x 2160 pixels.

Open Gate ProRes 4K Cine
A format unique to SXT cameras; it not only provides the cine standard of 4096 pixels across, but allows for VFX markers or up/down repositioning in post through the extra height of 2636 pixels.

6:5 ProRes 2K Anamorphic
The most economical path to the best overall 2K image quality with anamorphic lenses. The camera creates a ready-to-view ProRes file in the 2K DCI delivery format (2048 x 858), so no debayering, cropping, rescaling or de-squeezing is needed in post.

6:5 ProRes 4K Cine Anamorphic
The most economical path to the best overall 4K image quality with anamorphic lenses. The camera creates a ready-to-view ProRes file in the 4K DCI delivery format (4096 x 1716), so no debayering, cropping, rescaling or de-squeezing is needed in post.

4:3 ProRes 2.8K
Popular for spherical 16:9 or 1.85:1 shows (marked with red dotted rectangle below), this format provides extra height for VFX tracking markers and repositioning in post. It has the immediacy and speed of ProRes, plus a lower data rate than Open Gate and works with smaller image circle than Open Gate.

Open Gate ProRes 3.4K
Designed for those who want the maximum image area and pixel count from a Super 35 ALEXA (3424 x 2202) in combination with the immediacy and speed of ProRes.

16:9 ARRIRAW 3.2K
The largest number of pixels that can be processed at 120 fps (3168 x 1782). Use the full image area with ARRI Super 35 PL mount lenses, or gain extra room for repositioning, stabilizing and tracking when using lenses with an image circle covering a 2.8K image area.

The 3.2K recording formats require an illumination circle of 29.95 mm and the Open Gate formats require an illumination circle of 33.50 mm from the taking lens. While most ARRI Super 35 lenses cover 3.2K, some wide angle lenses will not cover the full Open Gate. To get an idea of which lens covers which sensor mode and target aspect ratio, check out the online Lens Illumination Guide.

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.

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

8:9 Sensor Mode
For productions intended for 16:9 HD or UHD TV distribution, the 8:9 sensor mode is the best option when shooting with anamorphic lenses (from ALEXA SXT Software Update Package 3.0).

Keep your look from prep to post

ALEXA SXT incorporates a completely new look management architecture, offering total control of looks from preproduction through post in order to protect and share the cinematographer’s creative intentions. A new ARRI Color Tool (ACT) and ARRI Look File (ALF-2) allow the creation of unique looks, which are compatible with ALEXA Mini and AMIRA. With all look information stored in the metadata of recorded files, this new system enables live grading on set, as well as automated dailies and editing with looks. Early and wide adoption of the system by third parties ensures that the desired look is maintained throughout a smooth workflow, no matter what your preferred grading, dailies or editing tools.

Live grading on set
ALEXA SXT cameras can replace a LUT box on set. Live grading to fine-tune the cinematographer’s look on set is already supported by Pomfort LiveGrade, Codex Live, Colorfront On-Set Live, Filmlight Prelight and Technicolor DP Lights, with others in progress.

Automated dailies
The ALF-2 look file is always stored in metadata, so dailies and editing proxies that show the same look as was seen on set can be generated automatically and fast. This is supported by DaVinci Resolve, Colorfront OSD, Codex Production Suite, Pomfort Silverstack and Filmlight Daylight, with others in progress.

 

Editing with looks
Non-linear editing programs such as Avid Media Composer, Apple Final Cut Pro X and Adobe Premiere Pro can apply looks from metadata automatically, allowing the editor to see the same look as was seen on set and in dailies.

For more detailed information take a look at the ALEXA SXT Look Management white paper. Full flexibility for monitoring on set

 

Full flexibility for monitoring on set

With the powerful processing hardware from the ALEXA 65, ALEXA SXT cameras provide a wide range of monitoring features that make this a true What-You-See-Is-What-You-Get camera.

On-set quality control for High Dynamic Range
While images recorded with ALEXA have been High Dynamic Range (HDR) since 2010, ALEXA SXT can be used with the latest HDR monitors to allow monitoring of HDR images on set. This is great to ensure that the creative intent of a scene is appropriately represented on both SDR and HDR displays, without the audience’s attention being distracted when bright elements or strong colors within the frame become too prominent in HDR.

The right image for each crew member
Four independent monitoring outputs (EVF-1 and three MON OUTs) cater to the needs of different crew members. Each output has completely independent settings such as image processing, surround view, status info, peaking and false color.


Click here to enlarge.

Rec 709 and Rec 2020 monitoring outputs
The color range captured by ALEXA (ALEXA Wide Gamut) far exceeds the ability of current displays. ALEXA SXT can provide an independent display color space for each MON OUT, either the HD standard of Rec 709 or the new UHD standard of Rec 2020.

Better frame grabs
Frame grabs are now possible in all sensor modes and will include the image area of the recording format without any frame lines, status info, peaking or false color superimposed. The source of the frame grab can be freely assigned: either as a .jpeg, .tif or .dpx from one of the three monitor outputs (MON OUT 1, 2 or 3) or as a .ari from a step earlier in the processing chain where the image is available in ARRIRAW in the full resolution of the recording format.

 

Improved image quality

A completely overhauled image processing path provides additional improvements to the ALEXA best overall image quality. Developed in-house, the ARRI Noise Reduction (ANR) is a mild noise reduction that avoids the artefacts of most other such attempts. An advanced defect pixel correction will provide cleaner images. Projects that are time-sensitive can now create burned-in looks with the full power of 3D Look Up Tables (LUTs).

Single speed mode

Switching between normal and high speed mode is a thing of the past with ALEXA SXT cameras, as all frame rates can be chosen directly in one single speed mode.

New media bay and drives

ALEXA SXT cameras can accept a wide range of media, including the new, high-performance SXR Capture Drives. The faster processing capabilities allows faster frame rates for most recording formats than were possible with ALEXA XT cameras, and the addition of RAID technology brings additional safety through Redundant recording to XR and SXR Capture Drives.

Wide range of media
The new media bay accommodates a wide range of media (each through an adapter) for unrivaled flexibility for rental houses and productions: XR and SXR Capture Drives, SxS PRO and SxS PRO+ cards, and CFast 2.0 cards.

New SXR Capture Drives
The new SXR Capture Drives represent the next generation of professional solid-state media for ALEXA SXT and ALEXA 65 cameras. Sophisticated selection of memory, careful manufacturing processes and a modern, robust housing design make these the most reliable media on the market. Their lightning-fast maximum write speed of 20 Gb/s allows for higher maximum frame rates with some recording formats, while the 1 TB (red collar) or 2 TB (blue collar) capacity permits longer recording times. The new drives are accompanied by a new SXR Capture Drive Dock (TB).

Increased frame rates
Most 16:9 ProRes recording formats benefit from the increase in in-camera processing speed through faster maximum frame rates. Other formats get a boost in maximum fps when used with the new SXR capture Drives.

For a listing of all recording formats and frame rate increases see this SXT Fps Overview.

ProRes RAID
In ALEXA SXT, ProRes files are always recorded in RAID 1 to Capture Drives, which provides extra security through data redundancy.

Best Overall Image Quality

Future proof images for 4K, HDR, WCG, HFR
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.

High Dynamic Range
The ALEXA sensor provides high dynamic range images through 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.

Click here to see an illustration of ALEXA’s exposure latitude 
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.

In the images below, the sensor area used for shooting with anamorphic lenses is shown. Since an anamorphic lens squeezes the CinemaScope 2.39:1 image by a factor of 2, it needs a sensor area with a 1.195:1 aspect ratio, which can also be expressed as 6:5. Film (orange) and the ALEXA sensor (blue) are tall enough to easily accommodate this. Since film and the ALEXA sensor have almost exactly the same dimensions, they exhibit the same angle of view for anamorphic lenses. Other cameras use a 16:9 sensor, and cropping the required 6:5 out of a 16:9 sensor (inner black rectangle) results in a significantly smaller sensor area, which means fewer photo sites and a different angle of view than what cinematographers are used to.

ARRI custom imaging chain
To render images with a film-like, organic look, all components of the ALEXA imaging chain are proprietary high performance custom designs: the optical low pass filter, the CMOS sensor, the electronics hardware imaging engine and the image processing software.

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.

Efficient and Versatile Workflows

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

ALEXA SXT Recording Media,  ALEXA SXT Sensor ModesALEXA SXT Recording Formats

ALEXA SXT cameras offer in-camera recording of ARRIRAW or ProRes to a wide range of media, from high speed, high capacity SXR Capture Drives to CFast 2.0 cards. ProRes enables file-based workflows that save time and money, while ARRIRAW delivers maximum image quality, the greatest flexibility in post and the safest choice for archiving. Additional options are provided by different recording color spaces, the most popular being ARRI Wide Gamut/Log C, which captures the widest range of tonal values and colors for advanced color timing. Rec 709 is perfect for immediate access to HD images, while Rec 2020 provides immediate access to images utilizing this new color space standard.


Click here to enlarge.

Great efforts have been taken to prepare captured material for efficient handling in all near-set and post processes. Monitoring is possible in standard or High Dynamic Range (HDR), as well as Rec 709 or Rec 2020. Rich metadata is recorded into every format and the new ARRI look management maintains, protects and shares the cinematographer’s look on set, in dailies creation and in editing. Four independent monitoring outputs provide the right image for each crew member and a range of assistive tools provide useful information about camera, lens, exposure and focus.

Through close collaboration with ARRI partners, all relevant editing, grading and visual effects tools can read and process ALEXA files and display the look, without any need for pre-processing. Additionally, ARRI enhances the workflow at all stages through a wide range of powerful stand-alone applications and useful online tools, and by sharing software code with third parties.

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.

For greatest flexibility in post, nothing is “baked” into an ARRIRAW image. Image processing steps like debayering, white balance, sensitivity or downscaling, which are irreversibly baked into the image for a ProRes or HD-SDI, are not applied to ARRIRAW. Thus they can be optimized in post based on image content. For example, different debayering parameters can be chosen for faces, landscapes or green screen.

Since ARRIRAW image processing is openly published in SMPTE RDD 30 and 31, and a number of white papers, it is also an excellent, future-proof archiving format. Footage archived in ARRIRAW can be retrieved safely in the future and will look even better through continuous advances in debayering technology. We also make our color science and our debayering algorithm available to third parties as a Software Developer’s Kit. Using this information, a large number of third parties have included native ARRIRAW support into their products. So when you come to your post house with ARRIRAW footage, they know how to process ARRIRAW with familiar tools.

Check out the list of third party tools with ARRIRAW support

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.

ProRes provides high image quality while using compression to reduce file size and thus costs. Native support by Apple and an expansive infrastructure, from the built-in ProRes viewer in every Mac to specialized VFX software, provides unrivaled immediacy and speed when working with ProRes files.

While ProRes is the staple of TV productions worldwide, its high image quality and specialized recording options also make it suitable for the big screen. Between ProRes 3.2K, Open Gate ProRes, ProRes 4444 XQ, ProRes pre-recording and ProRes in-camera de-squeeze for shooting with anamorphic lenses, filmmakers can choose the ProRes codec most appropriate for their project. ProRes RAID ensures redundant recording for added data safety.

Simple and Safe Operation

Simple operation on-set
ALEXA is simple to operate, and everything about its design ensures that you get a good image, no matter what. Its user interface has been specifically developed to be easy to learn and quick to operate. The camera’s hardware is designed for most ergonomic use on the set, including the built-in shoulder cut-out, large number of accessories like the Low Mode Support LMS-3, the Remote Control Unit RCU-4 or the Wireless Compact Unit WCU-4, down to little details like differently shaped extrusions (eyebrows) above some buttons so the operator can feel the button’s position from the other side of the camera or when shooting in low light.

Rugged hardware

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 is transported via heat pipes to a radiator located in a ventilation shaft at the back of the camera. A single, silent and slow running silent fan cools the radiator. 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’s stainless steel lens mount is attached to a stainless steel distance barrel, which itself is attached to the sensor mount. 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.

Robust data handling
In order to protect against the vagaries of production, ALEXA will continuously close the file it is recording. In case of a power failure, your data is protected and the media will contain a readable, uncorrupted file. If metadata gets damaged, on the next reboot ALEXA will look at the actually recorded frames and reconstruct the metadata so you can continue to record on that media.

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

Four ALEXA components have been specially designed to facilitate an easy upgrade path.

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

This great compatibility coupled with ALEXA’s hardware and software modularity allowed us to keep ALEXA cameras relevant, which translates into long and reliable product cycles and makes ALEXA a safe investment.

ALEXA SXT Plus Technical Data

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 support for the ARRI Wireless Remote System and the cmotion cvolution lens control system, 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 UHDSensor 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 AnamorphicSensor Mode 4:3
2880 x 2160 used for 4:3 ARRIRAW 2.8K
2880 x 2160 used for 4:3 ProRes 2.8KSensor 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 fpsAll speeds adjustable with 1/1000 fps precision. Some limitations based on recording media or recording format apply. For a detailed table of frame rates click here
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).
For a graphic of how the exposure latitude shifts at different EIs, click here
Exposure Index Values behind the exposure index are the number of stops above and below 18% grey.
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 Plus body with PL mount: 6.9 kg/15.1 lbs.
ALEXA SXT Plus body with PL mount, electronic viewfinder, viewfinder cable, viewfinder mounting bracket and handle: 8.4 kg/18.6 lbs.
Dimensions ALEXA SXT Plus body with PL mount: Length: 331 mm/13.03”, width: 189 mm/7.44”, height: 157.8 mm/6.21”; dimensional drawings available in the ALEXA manual
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.
For a graphic of which false color indicates which exposure level click here
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.
For more details click here
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 4x 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. MON OUT 1b is a clone of MON OUT 1a. 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
4x 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
3x 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
1x Fischer 5-pin Lens Data Display LDD
2x Fischer 5-pin Lens Control System LCS
1x Fischer 12-pin for CLM-2, CLM-3, CLM-4 or later IRIS
1x Fischer 12-pin for CLM-2, CLM-3, CLM-4 or later FOCUS
1x Fischer 12-pin for CLM-2, CLM-3, CLM-4 or later ZOOM
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 and custom lens tables for the Lens Data Archive (LDA). 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).
Software Tools (apps) ARRIRAW Converter (ARC)
ARRI Color Tool
ARRI Meta Extract
Software Tools (online) ALEXA Camera Simulator
Lens Illumination Guide
ARRI Frame Line Composer (AFC)
LUT Generator
ARRI Formats & Datarate Calculator
Note: Technical data based on SXT Software Update Packet SUP 1.0. All data subject to change without notice.
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