The prices shown are an estimate based on the purchase of a single item with nothing else in your basket. The prices and options do not include shipping regulations and duties which will be checked in the checkout process.
At CVP we always strive to get your order to you as quickly as possible, but in the interest of clarity please note that next day is defined as the next working day (ie: excluding weekends, UK bank holidays and public holidays).
Orders placed and security cleared before 14:00GMT where all items are in stock will normally be dispatched on the same business day for ultimate delivery according to the shipping method selected.
Where an item is not physically in stock, the actual delivery time will be extended by the lead time for the product in question. Shipping to the Channel Islands, Northern Ireland, Republic of Ireland and some remote UK postcodes are not next day but 2 working days.
All transactions are subject to CVP security checks which are for our mutual protection against identity theft and fraud. In the event that additional checks are required you will be informed and dispatch time will be extended by the time taken to resolve any queries raised. We apologise for any inconvenience this may cause.
*Due to unforseen circumstances, on some occasions same day dispatch may not be possible. In this event we will always do our utmost to keep you fully informed of any delay imposed.
The ALEXA XT (Xtended Technology) cameras add a number of significant and unique features to the ALEXA family: a Super 35 sensor with Open Gate and 4:3 sensor modes, in-camera ARRIRAW up to 120 fps, ProRes 4444 XQ, ProRes 3.2K, internal ND filter, Lens Data System, integrated CDL capture, ARRIRAW checksum, included anamorphic de-squeeze and high speed licenses, new viewfinder mounting bracket as well as a new, super silent fan. These features will expand on the benefits that have already made ALEXA such an extraordinary success – highest overall image quality and lowest overall production cost through reliability, ergonomics and efficient workflows.
Operational Hours: 3365
|Camera Type||35 format film-style digital camera with an electronic viewfinder, an Open Gate/4:3/16:9 switchable active sensor area, 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.|
|2880 x 1620 used for ARRIRAW 16:9|
|2880 x 1620 down sampled to 1920 x 1080 for HD-SDI, ProRes HD 16:9 and DNxHD HD 16:9|
|2868 x 1612 down sampled to 2048 x 1152 for ProRes 2K 16:9|
|3168 x 1778 used for ProRes 3.2K 16:9|
|2880 x 2160 used for ARRIRAW 4:3 Full|
|2868 x 2150 down sampled to 2048 x 1536 for ProRes 2K 4:3|
|2578 x 2160 used for ARRIRAW 4:3 Cropped|
|3414 x 2198 used for ARRIRAW Open Gate|
|Operating Modes||16:9, 4:3 Full, 4:3 Cropped or Open Gate sensor modes. Switching takes approx. 60 seconds. 16:9 available for ARRIRAW, ProRes and DNxHD recording. 4:3 Full available for ARRIRAW and ProRes 2K recording. 4:3 Cropped and Open Gate available for ARRIRAW recording. Regular or High Speed mode. Switching takes approx. 20 seconds.|
|ProRes HD 0.75 - 120 fps|
|ProRes 2K 0.75 - 60 fps|
|ProRes 3.2K 0.75 - 30 fps|
|DNxHD HD 0.75 - 120 fps|
|ARRIRAW 0.75 - 120 fps|
|4:3 FullProRes 2K 0.75 - 48 fps|
|ARRIRAW 0.75 - 90 fps|
|ARRIRAW 0.75 - 96 fps|
|ARRIRAW 0.75 - 75 fps|
|All speeds adjustable with 1/1000 fps precision. To record above 60 fps, the camera needs to be switched to high speed mode.|
|Note: some limitations based on recording media or recording file settings apply.|
|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 (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|
|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|
|Colour Correction||While white balance changes the red/blue hue of the image, colour 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 XT body with XR Module: 6.6 kg/14.5 lbs.|
|ALEXA XT body with XR Module, electronic viewfinder and handle: 8.0 kg/17.6 lbs.|
|Dimensions||Length: 332 mm/12.95”, 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||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 colour 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 colour 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 colour 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.|
|Control||Camera right: Main user interface with a 3” transflective 400 x 240 pixel LCD colour 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 required).|
|In-camera Recording||Uncompressed and unencrypted ARRIRAW, compressed and unencrypted QuickTime/ProRes or compressed and unencrypted MXF/DNxHD recording onto XR Capture Drives. With SxS Adapter: QuickTime/ProRes or MXF/DNxHD onto SxS PRO or SxS PRO+ cards. With CFast 2.0 Adapter: QuickTime/ProRes or MXF/DNxHD onto CFast 2.0 cards. All formats include embedded audio, timecode and metadata. ARRIRAW can additionally store an ASC Color Decision List (CDL) from an on-set network connection and a checksum per frame.|
|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 in full ALEXA native colour space. Target output colour spaces for ProRes, DNxHD, REC OUT and MON OUT: Log C or 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. 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, ProRes or DNxHD from XR Capture Drive or playback of ProRes or DNxHD from SxS PRO or SxS PRO+ cards 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||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 16-pin electronic viewfinder (EVF)|
|1x custom LEMO 10-pin Ethernet with 24 V power (ETHERNET)|
|BNC connectors designed for fast exchange without camera disassembly.|
|These connectors require a special tool.|
|SD Card||For importing and storing ARRI Look Files, camera set up files, frame line files, feature license keys and user pixel masks. Stores captured stills from the REC OUT image path in TIFF (.tif, 16 bit), DPX (.dpx, 10 bit) or JPEG (.jpg, 8 bit) format (1). Stores log files. Also used for installing Software Update Packets (SUPs).|
The smallest and most affordable ALEXA XT camera
While sharing all the features of the ALEXA XT family like a Super 35 sensor with Open Gate and 4:3 sensor modes, in-camera ARRIRAW up to 120 fps, ProRes 4444 XQ, ProRes 3.2K, internal ND filter, Lens Data System, integrated CDL capture, ARRIRAW checksum, included anamorphic de-squeeze and high speed licenses, new viewfinder mounting bracket as well as a new, super silent fan, the ALEXA XT is the smallest and most affordable of the bunch. This camera is ideal for all those who do not require wireless remote control (ALEXA XT Plus), a separate head/body design (ALEXA XT M) or an optical viewfinder with a rotating mirror shutter (ALEXA XT Studio), but still need a camera that delivers exceptional image performance, efficient and versatile workflows, simple and safe operation and an open, future-proof architecture.
Record it all: Open Gate sensor mode
Using the full ALEXA sensor area, Open Gate mode is great for VFX shows, up-sampling to 4K, image repositioning, resizing, rotating or stabilizing. While some use it as their main recording format, others shoot in 16:9 or 4:3 and only certain scenes in Open Gate.
True anamorphic with 4:3 sensor mode
For the most effective use of anamorphic lenses, each ALEXA XT model is equipped with an Open Gate sensor of the same size and shape as a Super 35 mm film frame, a feature only found on ALEXA digital cameras. The 4:3 sensor mode 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 cinematographers, directors and the viewing public. For convenient viewing of anamorphic images an anamorphic de-squeeze license is included with all ALEXA XT cameras.
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. Film (orange) and the ALEXA sensor (blue) are tall enough to easily accommodate this, as can be seen in the left image. Since film and the ALEXA sensor have almost exactly the same dimensions, they exhibit the same angle of view for anamorphic lenses, which will be welcome news for cinematographers. Cutting the required 1.195:1 aspect ratio out of a 16:9 sensor (right image) results in a significantly smaller sensor area (grey area), which means fewer photosites and a different angle of view than what cinematographers are used to.
Space for VFX markers in 4:3 sensor mode
The 4:3 sensor is also useful for productions shooting with spherical lenses, as it permits the placement of tracking markers above and below the image, a shooting method popular with VFX heavy feature films. Alternatively, the extra room can be used for reframing in post, similar to shooting 4-perforation 35 mm.
Faster, lighter and more affordable ARRIRAW
All ALEXA XT cameras come with the new XR Module (Xtended Recording), a side panel that was co-developed with Codex to replace the previous SxS Module. The XR Module allows in-camera recording of uncompressed and unencrypted ARRIRAW, ALEXA's highest quality image output, all the way up to 120 fps in full image quality. This not only makes for a smaller, lighter and more affordable camera package, it also simplifies setup and operation while avoiding unnecessary cabling.
ALEXA XT cameras record ARRIRAW onto exceptionally fast and rugged 512 GB XR Capture Drives, including advanced and time-saving features such as capturing the ASC Colour Decision Lists (CDL) and a checksum for each frame into metadata. 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.
Powerful and Unique ProRes & DNxHD Options
As an alternative to ARRIRAW it is also possible to capture ProRes or DNxHD in-camera. ALEXA XT cameras provide two unique ProRes recording features: ProRes 4444 XQ, the highest quality ProRes codec, and ProRes 3.2K, the ideal recording resolution for an up-sample to 4K UHD or for extra room to resize, reframe, rotate or stabilize a 2K or HD image. Additionally, the XR Capture Drives allow for significantly longer recording times and faster speeds: ProRes 4444 can be recorded for a total time of 107 minutes (at 24 fps) and can be recorded as fast as 120 fps. Recording onto SxS PRO or SxS PRO+ cards is also possible: with the SxS Adapter ProRes or DNxHD can be recorded to a single SxS PRO or SxS PRO+ card, thus protecting the inventory of existing cards. And with the CFast 2.0 Adapter it is possible to record onto CFast 2.0 cards, the same medium used by AMIRA, the new documentary style camera.
A high speed license for filming at up to 120 fps in 16:9 and 96 fps in 4:3 is included with all ALEXA XT cameras.
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.
High quality internal full-spectrum ND filters
The In-camera Filter Module IFM-1 for the first time offers neutral density (ND) filters that maintain a neutral colour balance at all densities.
Using internal ND filters allows a rating at the base sensitivity of EI 800 without the need for external 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 spectacularly neutral colour 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 themselves are available separately in 8 densities from ND 0.3 to ND 2.4 plus an optical clear. Out of the box the ALEXA XT cameras can be used without a filter, and when FSND filters should be used, a IFM shim has to be installed in the lens mount.
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 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. 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 images to the images taken with the real lens, a process that used to take a long time of manual tweaking. In the example below, a new car was inserted through computer graphics (right image) into an image that originally contained a stunt car (left image). The lens metadata was used to exactly duplicate focus, depth of field, perspective and minor distortions introduced by the real lens.
Over 42 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 Ultra Wide Zoom UWZ 9.5 - 18, ARRI/Zeiss Master Zoom 16.5-110, ARRI/Fujinon Alura Lightweight Zoom 15.5-45 and ARRI/Fujinon Alura Lightweight Zoom 30-80. The ARRI LDS also includes support for the Cooke /i system. 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 colour correction metadata into post
An increasing number of productions are setting up on-set colour correction systems so the cinematographer can create and monitor a pre-grade of the footage. When shooting ARRIRAW, the resulting ASC CDL (American Society of Cinematographers Colour Decision List) can be automatically transferred to ALEXA XT cameras and stored as metadata for fast and convenient retrieval in post.