ARRI ALEXA XT Models Capture ARRIRAW to Internal SSDs

ARRi is updating and replacing cameras in the ALEXA product line to include internal ARRIRAW recording, internal ND filtering and a 4:3 sensor.

All ALEXA XT models come with the new XR Module, a side panel that was co-developed with Codex to replace the previous SxS Module. The result is a smaller, lighter, cable-free camera package that can record ARRIRAW inside the camera, at up to 120 fps onto very fast, strongly built 512 GB XR capture drives. ProRes or DNxHD can be captured to the XR drives as well, resulting in ProRes 4444 recording at 120 fps and longer recording times. With an SxS Adapter, it is possible to record ProRes or DNxHD to a single SxS PRO card, which makes better use of your existing cards. The XR capture drive also makes different paths into post available, using Codex workflows.

Previously, productions recording ARRIRAW have required an external recorder such as the Codex Onboard, either mounted on top of the camera or connected to it by a cable. ALEXAs with an XR Module can record ARRIRAW untethered to the XR solid-state drive, which is packed into a small aluminum housing of the same shape as the current Codex Capture Drives. At 6.7 Gbit/s, it is one of the fastest digital magazines available.

The in-camera filter module IFM-1 allows ALEXA XT models to be rated at a base sensitivity of EI 800 without using external neutral density filters, even in bright sunlight. Filtering inside the camera, behind the lens, rather than externally in front of the lens saves time and steps, reduces weight and limits reflections. The Precision IRND filters used with the IFM-1 are set separately for image quality and colour balance at the eight available densities, from ND 0.3 to ND 2.4.

For effective use of anamorphic lenses, each ALEXA XT model has a 4:3 sensor, the same size and shape as a Super 35 mm film frame, required to produce images with the 1950s style CinemaScope widescreen look. It is a look that has long been appreciated by cinematographers, directors and the viewing public. An anamorphic de-squeeze license is included with the XT cameras, plus a high speed license for shooting at up to 120 fps. The 4:3 sensor is also useful on non-anamorphic productions because it allows space for reframing an image in post, similar to shooting 4-perforation 35 mm.

All ALEXA XT models are equipped with an LDS lens mount to support VFX post workflows. The ARRI Lens Data System, LDS, reads the position of all lens rings and writes them into the metadata for every format ALEXA can record. Over 40 lens models have built-in LDS, including the ARRI/ZEISS Master Anamorphic, Master Prime and LDS Ultra Prime series, the Master Macro 100 and the ARRI/FUJINON Alura Lightweight Zooms. For other lenses, the lens table can be stored inside the ALEXA using the Lens Data Archive function.

For operators, the new viewfinder mounting bracket VMB-3 has a stronger and more rigid design, due partly to the use of two 15 mm lightweight rods. These rods are also handy when crews are rapidly changing camera support, for example from a tripod to a crane or Steadicam, because accessories such as lens motors or follow focus units can be hung from the rods rather than occupying the base plate. Also available as a separate accessory is a new viewfinder extension bracket VEB-3, with a fold-out arm that holds the viewfinder in place when moving the camera.

The ALEXA XT, ALEXA XT M, ALEXA XT Plus and ALEXA XT Studio cameras will replace all previous models except for the original ALEXA. Owners of existing ALEXA cameras will be able to buy individual upgrades that supply most of the new functions of the XT configuration. Similar to the ALEXA’s Software Update Packets, ARRI is offering upgrades for existing ALEXAs that supply most of the functionality of the XT cameras. These upgrades include the XR Module, In-camera Filter Module IFM-1, Viewfinder Mounting Bracket VMB-3, Viewfinder Extension Bracket VEB-3, an XT fan and the anamorphic de-squeeze and high speed licenses.  www.arri.com