Camera Facilities ltd.


01753 785 734

Camera Facilities, one the UK’s foremost digital camera rental companies is based on the lot at Pinewood Studios providing 35mm Digital Cameras, Lenses, Grip and Lighting Equipment.

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ARRI: Alexa

The ARRI ALEXA 35mm Digital Cinema Camera has been embraced by broadcast, commercial and motion picture productions.


The Camera is supplied in a bespoke flight case with all standard accessories, 5x 32GB SxS cards plus a set of Hawk-woods 26v onboard Batteries and 4 way simultaneous charger. Additional Cinepower HD-30 26v Block batteries can be supplied. A whole series of Alexa accessories are available including 120fps High-Speed License, Sony Pro 64GB SxS Cards, 3D cable sets and Steadicam low mode brackets. Please see the ARRI website and downloads tab for up to date firmware changes.

The ARRI ALEXA’s CMOS Super-35mm sensor is rated at ISO 800. That sensitivity allows the camera to see a full seven stops of over exposure and another seven stops of underexposure, an unprecedented Dynamic Range. To take advantage of this, ARRI offers both industry-standard REC709 HD video output as well as the Log-C mode that shows the entire range of the chip’s sensitivity, allowing for an extreme range of colour correction options in post.

The ALEXA also offers three recording options. Two SxS Cards Slots allow for recording directly in all flavours of ProRes (4444, 422 HQ, 422, 422 Proxy), this makes for a simple “Shoot to Edit” workflow that is fast while maintaining extremely high quality. Dual BNC outputs allow for Uncompressed HD-SDI capture in 444 or 422. These connectors can also be used as the ARRI T-Link connection for capturing ARRIRAW directly from the ALEXA’s sensor. REC709 or Log-C are available for all of these outputs (in ARRIRAW they travel as metadata). The ProRes recording can also be used as a Proxy file for the other outputs for quicker offline editing.

Image Performance:

The ARRI ALEXA combines all the best features of the Digital Cinema cameras that preceded it. Building on ARRI’s tradition of cutting edge camera technology that is designed with the cinematographer and producer in mind, the ALEXA is destined to become the workhorse camera for many forms of broadcast, commercial and feature production. The ALEV III Super-35 CMOS sensor has a native 3.5K resolution and 14 stops of Dynamic Range. It rolls off highlights in a natural, organic way while digging deep into dark areas. Colours are rendered pleasingly and accurately.

The Alexa provides a film-like, organic look boasting:

•    Super-35 ALEV III CMOS sensor
•    EI 800 base sensitivity (EI 160 to EI 3200)
•    Wide exposure latitude of 14 stops
•    Natural skin tones
•    Extended, clean highlights
•    0.75-60fps (adjustable to .001 second intervals)
•    60-120fps with Optional High-Speed License using Sony 64GB SxS Cards
•    Extremely low noise floor
•    Excellent colour separation
•    Cinematic depth of field
•    Sharp, natural images for 2K and HD

For crews used to broadcast cameras or 35mm film cameras, the user interface with the camera in the field is familiar and comfortable. The camera is small and lightweight and runs very quiet without getting hot. Controls are clearly marked and logically located for intuitive use. Commonly used controls are available on the Operator side of the camera while the Assistant’s side offers a deeper yet easily-navigated menu interface with a large LCD display panel. The camera is comfortable to handhold and sports an all-new full colour fully adjustable F-LCOS HD viewfinder that can show a 10% look-around area to the recorded image.

ALEXA has built in lightweight 15mm front rod mounts and can be accessorized for either broadcast-style V-lock tripod plates or film-style sliding bridge plates in 15mm or 19mm studio modes. The camera can be powered using industry standard onboard 12v IDX or 26v Hawk-woods batteries or large off-camera 24v Cinepower HD-30 block batteries.

There are many postproduction paths in use today that can be based on technical needs, speed of use and budget. ALEXA can fit into any of them and the necessary hardware and software is already available and in place. Just choose what is best for a given production’s needs. Records to ProRes 4444 or ProRes 422 directly on small Sony SxS memory cards. A 32GB card can hold 13 (4444) or 20 (422) minutes of 1920x1080 HD video and the cards can be hot-swapped in the camera and loaded directly into a Final Cut Pro or latest Avid Media Composer system for immediate editing. Uncompressed HD (4:4:4 or 4:2:2) is also available directly out of the camera in 1920x1080. For a true “digital negative” level of control of the image, 12-bit ARRIRAW data in 3K resolution is available directly off the sensor without any compression, and various post workflows can yield what ARRI designates a "True 2K" image via oversampling.

ALEXA Specifications:

Camera Type:

35 format film-style digital camera with integrated shoulder arch and receptacles for 15 mm lightweight rods.


35 for at ALEV III CMOS with Dual Gain Architecture (DGA) and Bayer pattern color filter array.


2880 x 1620 for ARRIRAW, 2880 x 1620 down sampled to 1920 x 1080 for HD video, ProRes and DNxHD

Operating Modes

Regular or High Speed mode. High Speed mode requires license hire. 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


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.


ALEXA camera body + SxS Module: 6.3 Kg/13.8 lb
ALEXA camera body + SxS Module + EVF-1 + Viewfinder Mounting Bracket VMB-2 + viewfinder cable + Center Camera Handle CCH-1: 7.7 Kg/16.9 lb


Length: 332 mm/12.95”, width: 153 mm/6.02”, height: 158 mm/6.22”


-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 w/o LDS, 54 mm stainless steel PL mount, Super 35 centered

Flange Focal Depth:

52.00 mm nominal


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, 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.


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 MFX/DNxHD files onto either one or two (Dual Recording) SxS PRO cards. All codecs legal range 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 colour correction 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 the master is captured with an external device.
  • Codec:                                             QuickTime/ProRes 422 (Proxy)
  • Compression (1):                           40:1
  • Bit Rate in Mb/s at 30 fps:            45Bit
  • 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.

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.


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.


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.


•     2x slots for SxS PRO cards (SxS)
•     2x BNC recording out HD-SDI, 1.5G/3G switchable (REC OUT 1 and REC OUT 2)
•     1x BNC monitoring out HD-SDI 1.5G (MON OUT)
•     1x XLR 5 pin audio in (AUDIO IN)
•     1x BNC return signal HD-SDI, 1.5G (RET/SYNC IN)
•     1x BNC return signal/sync 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 out (AUDIO OUT)
•     1x LEMO custom 16 pin electronic viewfinder (EVF)
•     1x LEMO 10 pin Ethernet with 24 V power (ETHERNET)
•     SD Card    For importing ARRI Look Files, camera set up files, frame line files and feature licenses. 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.


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.


All technical data based on Software Update Packet (SUP) 5.0. All data subject to change without notice.


Click the following links to download the files:

1. ARRI Alexa Pocket Guide Download