ARRI Alexa Mini 4:3 (with anamorphic licence) photo 2

ARRI Alexa Mini 4:3 (with anamorphic licence) photo 3

ARRI Alexa Mini 4:3 (with anamorphic licence) / Anamorphic T2.3-T3.4 Prime set (P+S Technic Rehouse 40-100mm with wide adapter)

Shoot Kit 5Ana - MMB1/FF4/Sachtler Cine 30

Description
Rates & Accessories
Case Studies
Other Information
Videos

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

Consider also Alexa Mini 4:3 anamorphic camera with RAW licence

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….)

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.

Shooting kit comprising

Lenses

Kowa 4 lens anamorphic PL prime lens set including 30mm wide angle adapter, PL mount. Set consists of 5 x lenses:: 40mm/T2.3, 50mm/T2.8, 75mm/T2.8, 100mm/T3.4 plus 30mm wide angle aspheron.

These have been rehoused with brand new mechanics and barrels in September 2017 by P+S Technic, Germany for the original Kowa Prominar lenses.

Supplied with focus and iris gears, larger numbering, left right side focus scales, 80mm fronts, improved mechanics,

The rehousing includes new internal focus mechanics as well as the new housing, but stays close to the original compact form factor and light weight of the Kowa Anamorphic primes.

The KOWA Anamorphic prime lenses have been produced until the 1970s. In general for four different focal lengths are available for which P+S TECHNIK offers lens rehousing: 40mm, 50mm, 75mm, 100mm.

These rare and popular lenses have a compact form factor, making them ideal for handheld, steadicam or drone use. Low in contrast with a warm hue, they can be made to flare easily for a vintage look but the new mechanics make them feel like modern lenses.

77mm threaded front for separate filter.

Kowa anamorphic PL Prime set

40mm/T2.3,
50mm/T2.8,
75mm/T2.8,
100mm/T3.4
30mm wide angle aspheron

80mm Front lens Diameter

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

Consider also Alexa Mini 4:3 anamorphic camera with RAW licence

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….)

more...

Package Price

£1060/day, £3180/week

Optional Accessories

Double Anton Bauer VCLX Cine Block battery kit (3 hours Alexa Operation per battery)
£35/day £105/week
IB/E B4 mount adapter for large sensor cameras
£66/day £264/week
ARRI B4 mount adapter for large sensor cameras
£75/day £225/week
WCU-4 Integrated Wireless Lens Control System for Alexa Mini
£300/day £900/week

Pretzel Films mixes a zany cocktail with Alexa Mini and Superspeeds

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
Exposure latitude	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
Environmental	Splash and dust-proof through sealed electronics
Viewfinder	Multi Viewfinder MVF-1 (OLED and LCD ) with flip-out LCD screen
Viewfinder	and military-grade connector to camera
Control interface	Soft buttons and OSD on SDI output,
Control interface	integration of Transvideo StarliteHD touch interface *
ARRI lens motor control	Built-in radio interface for ARRI lens control
ARRI lens motor 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,
Wi-Fi remote control	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
Video outputs	and metadata, SDI-6G interface to external CODEX recorder *
Inputs	SDI-Genlock (optional activation through ARRI Service),
Inputs	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
Mode	Recording Resolution (2)	Recording File Setting		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
	ARRIRAW	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)