Camera kits

ARRI Alexa Mini anamorphic with ARRIRAW / CompactPrime T2.1-2.9/3.5 Set (18-85mm)

Shoot Kit 3 - MMB1/FF4/Video 20

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  • Rates & Accessories
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ARRI Alexa Mini 4K 4:3 35mm Digital Film Camera with 1:2.35 anamorphic licence and ARRIRAW licences.

Alexa Mini 4:3 anamorphic camera

Please read VMI’s comparison article: Alexa Mini or Amira? (or why I must have a Mini because it’s newer and better isn’t it?…no wait….) 

Please read VMI's article: WLCS Systems, All you need to know to explore the question of how to choose between the various systems and to introduce the range of WLCS systems which VMI arguably considers the best in their field and explain why we think that they work very well in given scenarios.

Lenses

Carl Zeiss Compact Prime film lens with DSLR optics (CP.2).  PL or EOS mount.

These are effectively T2.1 Zeiss ZF DSLR Prime lenses optimised to work with large sensor DSLR cameras rehoused in film lens housing to give superior focus movement.

Focus direction is the same direction as motion picture lenses, no reversible follow focus unit required.

Full frame coverage 24x36mm for focal lengths 21-85mm.

300 degrees focus range.

Some people want to know why we have broken with tradition and do not supply a conventional 18, 25, 35, 50, 85mm set.  This is because these are not a speed-matched set with a common T stop, so this will become 18mm/T3.5 (slow), 25mm (T2.9), then the other 3 with common T2.1.  Instead a 21mm has T2.9 and the other 4 are matched T2.1 we find a better combination.  Also the jump between an 18mm and 25mm is quite large, so 21, 28, 35, 50, 85 is a happy compromise!

Zeiss Compact Prime set

  • 18mm CP T3.5
  • 21mm CP T2.9
  • 28mm CP T2.1
  • 35mm CP T2.1
  • 50mm CP T2.1
  • 85mm CP T2.1

Other focal lengths available: 100mm/T2.1

ARRI Alexa Mini 4K 4:3 35mm Digital Film Camera with 1:2.35 anamorphic licence and ARRIRAW licences.

Alexa Mini 4:3 anamorphic camera

Please read VMI’s comparison article: Alexa Mini or Amira? (or why I must have a Mini because it’s newer and better isn’t it?…no wait….) 

Please read VMI's article: WLCS Systems, All you need to know to explore the question of how to choose between the various systems and to introduce the range of WLCS systems which VMI arguably considers the best in their field and explain why we think that they work very well in given scenarios.

more...


Package Price
£873/day, £2619/week
Add to Shoot Kit


Optional Accessories

Guides

Everything you wanted to know about 4K but were too afraid to ask...

Do we adopt 4K now or wait for 8K?

The Case for and against 4K

Shooting with HD Video lenses on large sensor cameras

ARRI Alexa Version 5 User Manual

Types of Apple Prores codecs and recording durations

Everything you wanted to know about 4K but were too afraid to ask...

Large Sensor Cameras - Everything that you need to know

Specifications

Sensor 35 mm format ARRI ALEV III CMOS with Bayer pattern color filter array
Photo sites 16:09
(with surround view) HD: 2880x1620 (3168x1772)
  2K: 2868x1612 (3154x1764)
  3.2K: 3200x1800 (3424x1926)
  4K UHD: 3200x1800 (3424x1926)
   
  04:03
  2K: 2867x2150 (3168x2160) *
Shutter Electronic shutter, 5.0° to 356.0°
Exposure latitude 14+ stops over the entire sensitivity range from EI 160 to EI 3200 
as measured with the ARRI Dynamic Range Test Chart (DRTC-1)
Exposure index EI 800 base sensitivity
Filters Built-in motorized ND filters 0.6, 1.2, 2.1
Lens mounts Titanium PL mount with L-Bus connector and LDS
EF mount
PL mount with Hirose connector and LDS
B4 mount with Hirose connector
Recording media CFast 2.0 memory cards
Recording formats HD 1920x1080
2K Cine 16:9 2048x1152
2K Cine 4:3 2048x1536 *
3.2K 3200x1800
4K UHD 3840x2160
ARRIRAW 2.8K 16:9 2880x1620 *
ARRIRAW 2.8K 4:3 2880x2160 *
Recording codec ProRes 4444XQ, 4444, 422 (HQ), 422, 422(LT), ARRIRAW *
Color output Rec 709, custom look or Log C
Look control Import of custom 3D LUT, ASC CDL parameter (slope, offset, power, saturation)
Adjustable image parameters Knee, gamma, saturation, black gamma, saturation by hue
Focus and exposure control Peaking, zebra, false color
White balance Manual and auto white balance
Sound level < 20 dB(A) at standard frame rates
Environmental -20° C to +50° C (-4° F to +122° F) @ 95% humidity max, non-condensing
Splash and dust-proof through sealed electronics
Viewfinder Multi Viewfinder MVF-1 (OLED and LCD ) with flip-out LCD screen 
and military-grade connector to camera
Control interface Soft buttons and OSD on SDI output, 
integration of Transvideo StarliteHD touch interface *
ARRI lens motor control Built-in radio interface for ARRI lens control
L-Bus motor output for daisy-chainable cforce lens control motors
Wi-Fi remote control Built-in Wi-Fi interface and web-based remote control from phones,
tablets and laptops
Custom control Optional GPIO interface for integration with custom control interfaces
Power input Lemo 8-pin, 10.5-34 V DC
Video outputs 2x HD-SDI out 1.5G and 3G: uncompressed HD video with embedded audio
and metadata, SDI-6G interface to external CODEX recorder *
Inputs SDI-Genlock (optional activation through ARRI Service),
timecode (in and output)
Other interfaces USB 2.0 (for usersets, looks etc.)
Ethernet
EXT accessory interface w. RS pin
* Standard Option on VMI cameras.  

Recording and Frame Rates

Mode Recording Resolution (2) Recording File Setting Internal      Recording  
  CFast 2.0 128 GB
16:09 ProRes HD 422 200
422 HQ 200
4444 200
4444 XQ 120
2K Cine 422 200
422 HQ 200
4444 200
4444 XQ 120
3.2K 422 60
422 HQ 60
4444 60
4444 XQ 30
4K UHD 422 60
422 HQ 60
4444 60
4444 XQ 30
ARRIRAW** 2.8K   30
4:3** ProRes 2K Cine 422 150
422 HQ 150
4444 120
4444 XQ 60
ARRIRAW 2.8K Full 30
2.6K Cropped 30

** available ARRIRAW option requested
(1) Minimum frame rate is always 0.75 fps
(2) The "recording resolution" determines the number of horizontal pixels that will be recorded (the number of vertical pixels is dependent on the recording file type and sensor mode)

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