ARRI Alexa PLUS

2K capture with S-35 sensor

£300.00 / day
£900.00 / week

The Alexa PLUS is the same camera as ARRI Alexa, except it allows ARRI Wireless lens control systems to integrate into the camera without the need for a separate LCS 'brain' to be connected.  It also includes 2 x HD-SDI outputs instead of 1 as standard.
Manufacturer

Mount

Sensor Size/Coverage

Media Standard

Alexa Digital Film Camera Recording 50p onto SxS Cards.  Alexa records to SxS Cards on-board up to 50p in Prores 4:2:2.

The standard camera package now includes 120fps High-Speed Option at no extra charge.

The arrival of the Arri Alexa 35mm digital motion picture camera represents a benchmark, not only in the quality and clarity of the images produced, but also in the efficiency of the acquisition workflow. Configured to write to proprietary solid state media (SXS cards) with globally acceptable Apple ProRes codecs, Alexa records material that is instantly reviewable at full resolution in a shooting environment.

Of course uncompressed native HD and ARRIRAW outputs are also available with the consequent on set data handling implications. With the Alexa, Arri has released a camera with the pedigree lineage of Oscar winning technical innovation in a package designed to produce stunning results in the contemporary marketplace.

This camera has become the standard in Drama and features use as the camera of choice for DoPs, due to its very simple operating interface and reliable and robust construction.

Shoots Apple Prores 4:2:2 or 4:4:4

This is a stunning high-end camera shooting to low-cost SxS Express Cards in a reliable format using native Apple FCP Prores 4:2:2 or 4:4:4 format which can be easily ingested and edited.

Our opinion on the ARRI Alexa is that with the Alexa’s pro-focused build and simple post production workflow, that if the workflow is reliable enough to mean that you don’t need to pay a DIT to be on location, then it shouldn’t cost any more than using a RED and really go mainstream!

A Super 35 CMOS Bayer sensor can shoot uncompressed 2K resolutions output in native Prores 4:2:2 onto internal SxS card flash memory.

You can shoot high end 1080p video with the camera and have it encoded in Final Cut Pro native codecs (Apple’s ProRes 4:2:2 and ProRes 4:4:4) to allow editing as you shoot without conversion – a rarity in the cinematic HD world or you can record off-board to many off-board recorders such as Odyssey 7Q ARRI RAW 4:4:4  to record full uncompressed 4:4:4 HD

Compatible Cards

Camera Type 35 format film-style digital camera with electronic viewfinder, integrated shoulder arch, built-in support for the ARRI Wireless Remote System (WRS), cmotion cvolution lens control system and ARRI Lens Data System (LDS).
Sensor 35 format ALEV III CMOS with Dual Gain Architecture (DGA) and Bayer pattern color filter array.
Photosites 2880 x 1620 for ARRIRAW, 2880 x 1620 down sampled to 1920 x 1080 for HD video and ProRes
Operating Modes Regular or High Speed mode. High Speed mode requires license purchase. Switching takes approximately 40 seconds.
Frame Rates ProRes 422 (Proxy), 422 (LT), 422 and 422 (HQ): 0.75 – 60 fps
ProRes 422 (Proxy), 422 (LT), 422 and 422 (HQ) with High Speed license: 0.75 – 120 fps
Prores 4444 with 32 GB SxS PRO cards: 0.75 – 40 fps
ProRes 4444 with 64 GB SxS PRO cards, SUP 5.0 or later: 0.75 – 60 fps
DNxHD 145 and 220x: 0.75 – 60 fps
DNxHD 145 and 220x with High Speed license: 0.75 – 120 fps
HD-SDI: 0.75 – 60 fps
ARRIRAW SUP 5.0 or later: 0.75 – 60 fps
All speeds adjustable with 1/1000 fps precision
Shutter Electronic rolling shutter, 0.75 – 60 fps: 5.0º – 358.0º, 60 – 120 fps: 356º. Shutter angle setting precision: 1/10 degree.
Exposure Latitude 14 stops for all sensitivity settings from EI 160 to EI 3200, as measured with the ARRI Dynamic Range Test Chart (DRTC)
Exposure Index EI 160 (+5.0 / -9.0), EI 200 (+5.3 / -8.7), EI 400 (+6.3 / -7.7), EI 800 (+7.4 / -6.6), EI 1600 (+8.4 / -5.6), EI3200 (+9.4 / -4.6)
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 Separate white balance (red/blue) and color correction (green/magenta) adjustment through Auto or manual setting. Red/blue: 2000 to 11000 Kelvin, adjustable in 100 K steps, with presets of 3200 (tungsten), 4300 (fluorescent), 5600 (daylight) and 7000 (daylight cool). Green/magenta: -8 to +8 color correction (CC), 1 CC = 035 Kodak CC values or 1/8 Rosco values.
Sound Level Under 20 db(A) @ 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 inputs: BAT connector, battery adapter back and battery adapter top. All accept 10.5 to 34 V DC. 85 W power draw for camera and EVF-1 in typical use recording 24 fps to SxS PRO cards, without accessories.
Power Out 12V connector: limited to 12 V, up to 2.2A. RS, EXT and ETHERNET: input below 24V is regulated up to 24V, above 24V: input = output voltage. Both RS and EXT connectors combined: up to 2.2A. ETHERNET: up to 1.2A. Maximum power draw is also limited by the power source.
Weight ALEXA Plus camera body + SxS Module: 7.0 Kg/15.4 lb ALEXA Plus camera body + SxS Module + EVF-1 + Viewfinder Mounting Bracket VMB-2 + viewfinder cable + Center Camera Handle CCH-1: 8.4 Kg/18.5 lb
Dimensions Length: 332 mm/12.95”, width: 175 mm/6.89”, 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
Flange Focal Depth 52.00 mm nominal
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, electronic level, compare stored image with live image, RETURN IN video and anamorphic de-squeeze. Anamorphic de-squeeze requires license purchase. MON OUT only: Reel & clip number.
Control Camera right: main user interface with 3” transflective 400 x 240 pixel LCD color screen, illuminated buttons, button lock and jog wheel. Camera left: operator interface with illuminated buttons, button lock and card swap button.
In-camera Recording Records Apple QuickTime/ProRes files or MXF/DNxHD files onto one or two (Dual Recording) SxS PRO cards. All codecs record legal range video with embedded audio, timecode and metadata.
Codec: QuickTime/ProRes 4444
Compression (1): ‘5:1
Bit Rate in Mb/s at 30 fps: 330
Bit Depth: 12
Color Coding: 4:4:4 RGB
Recording time in hrs:min (2): ‘0:22
Application: High quality television or cinema applications requiring colorcorrection and/or compositing.
Codec: QuickTime/ProRes 422 (HQ)
Compression (1): ‘8:1
Bit Rate in Mb/s at 30 fps: 220
Bit Depth: 10
Color Coding: 4:2:2 YCbCr
Recording time in hrs:min (2): ‘0:34
Application: High quality television applications requiring color correction.
Codec: QuickTime/ProRes 422
Compression (1): ’12:1
Bit Rate in Mb/s at 30 fps: 147
Bit Depth: 10
Color Coding: 4:2:2 YCbCr
Recording time in hrs:min (2): ‘0:52
Application: Basic television applications if images do not require adjustments in postproduction.
Codec: QuickTime/ProRes 422 (LT)
Compression (1): ’18:1
Bit Rate in Mb/s at 30 fps: 102
Bit Depth: 10
Color Coding: 4:2:2 YCbCr
Recording time in hrs:min (2): ‘1:14
Application: On set monitoring and proxy editing when themaster is captured with an external device.
Codec: QuickTime/ProRes 422 (Proxy)
Compression (1): ’40:1
Bit Rate in Mb/s at 30 fps: 45
Bit Depth: 10
Color Coding: 4:2:2 YCbCr
Recording time in hrs:min (2): ‘2:42
Application: Same as above when a longer recording time is desired.
Codec: MXF/DNxHD 175x/185x/220x
Compression: 8:1
Bit Rate in Mb/s at 30 fps: 220
Bit Depth: 10
Color Coding: 4:2:2 YCbCr
Recording time in hrs:min (2): 0:39
Application: High quality television applications requiring color correction.
Codec: MXF/DNxHD 115/120/145
Compression: 12:1
Bit Rate in Mb/s at 30 fps: 147
Bit Depth: 8
Color Coding: 4:2:2 YCbCr
Recording time in hrs:min (2): 0:59
Application: Basic television applications if images do not require adjustments in postproduction.
(1) Compression rate calculated based on 10bit full HD RGB with 1.8Gbit/s
(2) Approximate time at 30 fps with SxS PRO 64 GB card
Recording Outputs 2x 1.5G or 3G REC OUT BNC connectors for ARRIRAW or HD-SDI video. Both with embedded audio, timecode, metadata and optional recording flag.
ARRIRAW: 2880 x 1620, uncompressed 12 bit log without white balance or exposure index processing applied. Requires an ARRIRAW T-Link certified recorder.
HD-SDI video: uncompressed 1920 x 1080 4:4:4 RGB or 4:2:2 YCbCr; both legal or extended range. Recording frame rates other than HD standard (23.976, 24, 25, 29.97, 30, 50, 59.94, 60 fps) requires a recorder with Variflag support.
Monitor Output 1x MON OUT BNC connector for uncompressed 1.5 G HD-SDI video: 1920 x 1080, 4:2:2 YCbCr; legal range.
Image Processing 16 bit linear internal image processing. Target color spaces for SxS, REC OUT and MON OUT: Log C (film matrix off), Log C (film matrix on), Rec 709 or DCI P3. For Rec 709 and DCI P3 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 SxS recording for 3D applications.
Playback QuickTime/ProRes and MXF/DNxHD clips can be played back from SxS PRO cards to the EVF-1, MON OUT and REC OUT. Playback audio is available embedded in the MON OUT and REC OUT signals and on the headphones jack.
Audio 1x XLR 5 pin AUDIO IN connector for 2 channel, line level balanced audio input, 24 bit/48 kHz A/D conversion, works at 23.976, 24, 25, 29.97 and 30 fps. Uncompressed audio is recorded into the QuickTime/ProRes file or MXF/DNxHD file and embedded in all HD-SDI outputs, including ARRIRAW T-Link. Max of 2.5 dBm output from AUDIO OUT headphones connector.
Connectors Slots for SxS PRO cards (SxS), Camera body
2x BNC recording out HD-SDI, 1.5G/3G (REC-OUT 1/2), Camera body
1x BNC monitoring out HD-SDI, 1.5G (MON OUT), Camera body
1x XLR 5 pin audio in (AUDIO IN), Camera body
1x BNC return signal HD-SDI, 1.5G (RET/SYNC IN), Camera body
1x LEMO 16 pin external accessories (EXT), Camera body
1x Fischer 2 pin 24 V power in (BAT), Camera body
2x Fischer 3 pin 24 V remote start and accessory power out (RS), Camera body
1x LEMO 2 pin 12 V accessory power out (12 V), Camera body
1x LEMO 5 pin timecode in/out (TC), Camera body
1x TRS 3.5 mm headphone mini stereo jack out (AUDIO OUT), Camera body
2x LEMO 10 pin Ethernet with 24 V power (ETHERNET), Camera body
1x LEMO SMPTE 304M hybrid fiber connector (Optical Link), Camera body
1x LEMO SMPTE 304M hybrid fiber connector (Optical Link), Camera head
1x LEMO custom 16 pin electronic viewfinder (EVF), Camera head
1x Fischer 2 pin 24 V power in (BAT), Camera head
2x Fischer 3 pin 24 V remote start and accessory power out (RS), Camera head
1x LEMO 10 pin Ethernet with 24 V power (ETHERNET), Camera head
SD Card For importing 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 in ARRIRAW (.ari, 12 bit), TIFF (.tif, 16 bit), DPX (.dpx, 10 bit) and JPEG (.jpg, 8 bit) format as well as logging files. Also used for software updates.
Upgrades The Storage Interface Module (currently available for SxS PRO cards) 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. Exchangeable Lens Mount (ELM) allows other lenses beyond PL mount lenses to be used. Simple camera software updates. Licenses available for purchase: Anamorphic De-squeeze, High Speed, DNxHD.
Note: All technical data based on Software Update Packet (SUP) 5.0. All data subject to change without notice.
ARRI Digital Alexa Standard Kit
ARRI Alexa camera body with High Speed 120fps Option
ARRI Electronic Viewfinder (EVF-1)
Alexa Viewfinder Cable, short
Camera Port Cap PL
ARRI HEB-2 Handle Extension Short
Alexa Viewfinder Cable, medium K2.72013.0
Arri Handle 5mm Allen
ARRI BP-12 Bridge Plate Top
ARRI Sliding Plate / Dovetail  K2.0000324
SD card Alexa 2GB
Alexa Cable DC Power In - Angled
Alexa Cable DC Power In - Straight
Alexa Cable DC Power Out (KC-154)
Alexa - Shoulder Pad 
Alexa - Rear Riser (LB-1)
Alexa QRP adapter (WA-1) K2.72002.0
19mm Support Rod  240mm
19mm Support Rod  440mm
15mm Support Rod  240mm
ARRI HEB-1 Handle Extension long
2 x Aerial Alexa/ Bolt 2000/600  RX Articulated 4"Small
5x 32GB, 2 64GB SxS Card Storage (1.17 Mins/GB at 4:2:2 @ 25p mode)
Sony SxS Card Reader SBAC-US20 (USB 3.0)
Hot Swap Anton Bauer Battery Back
Choice of 5 x Hawkwoods 98WH batts and 2 x Hawkwoods 2-way chargers
or 4 x Hawkwoods 150WH batts and 2 x Hawkwoods 2-way chargers
or 5 x Anton Bauer Dionic HC batteries with Anton Bauer TM-4 charger

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