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ARRI ALEXA XT

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The camera Arri Alexa XT (Xtended Technology) adds a significant number of improvements to the previous models of the ALEXA range. De-Squeeze and Hi Speed licenses. Super 35 sensor with Open Gate and 4:3 sensor modes. 14 stops. EI 160 to EI 3200.

ALEXA SUP 11.0 with ProRes 3.2K released.

  • Sensor: 35mm ARRI ALEV III CMOS (28.17x18.13) Alquiler arri alexa xt
  • Mount: PL with LDS
  • Resolution: Up to 3.2k
  • Exposure Index: 800 base sensitivity
  • Work Flow: ARRIRAW, ProRes or DNxHD
  • Hi speed: Up to 120 fps in 16:9
  • Weight: 7.9Kg

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The ALEXA XT is a small and affordable camera which offers an exceptional image performance, efficient and versatile workflows, simple and safe operation and an open, future-proof architecture. It shares 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.

ALEXA XT family features

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.

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True anamorphic with 4:3 sensor mode

Each ALEXA XT is equipped with  an Open Gate sensor of the same size and shape as a Super 35 mm film frame which gives the most effective use of anamorphic lenses.The 4:3 sensor mode is crucial for delivering a cinematic widescreen look that emulates the reminiscences of the CinemaScope films, this cinematographic esences has been really appreciated by cinematographers, professionals of the esthetics imaging world and the viewing public. With all the ALEXA XT cameras the  de-squeeze license is included for convenient viewing of anamorphic images.

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.

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Space for VFX markers in 4:3 sensor mode

If you are shooting with spherical lenses you will find useful the 4:3 sensor which permits the placement of tracking markers below and above the image, this method is popular with VFX films.Another usefull thing is that the extra room can be used for reframing in post.

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Faster, lighter and more affordable ARRIRAW

The XR Module (Xtended Recording) is a side panel that comes with all ALEXA XT cameras which has been co-developed with Codez to replace previous SxS Module.This device 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 simplifies setups and operations avoiding unnecessary cabling, also making the camera package smaller, lighter and more affordable.

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 Color 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.

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Powerful and Unique ProRes & DNxHD Options

It is also possible to capture ProRes or DNxHD in-camera, as an alternative to ARRIRAW. 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: ProRes 4444 can be recorded for a total time of 107 minutes (at 24 fps) and can be recorded as fast as 120 fps, for significantly longer recording times and faster speeds.
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.

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.

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 color balance at all densities. 

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More efficient VFX through lens metadata

All ALEXA XT models are equipped with an LDS lens mount. They also inserte metadata into all recording and output formats wich is really usefull on set but also for speedy VFX post workflow. This metadatas are 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.

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Compositing in post is much easer 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.

Over 42 ARRI lens models have LDS built-in, including the ARRI/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).

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Super Silent ALEXA XT Fan

A new super quiet fan has been incorporated into the ALEXA XT models, even quieter than the rest of ALEXAS Which are already among the quietest digital cameras.

About Image Quality

The ALEXA sensor provides high dynamic range images and an exposure latitude of more than 14 stops (as measured with the ARRI Dynamic Range Test Chart).  ALEXA's wide exposure latitude translates into a 'thick' digital negative; there is more detail information in the highlights and in the dark areas than any of the current display technologies can disclose, which can be translated to a great flexibility when color grading and makes ALEXA images future-proof for high dynamic range (HDR) display technologies.

Because of ALEXA's great overall image quality, its images can be easily up or down-sampled for spectacular HD, 2K, 4k UHD or 4K Cine deliverables.

ALEXA's high sensitivity and its ability to retain definition even when extremely under or overexposed make it very easy to work with. ALEXA renders natural colors, great looking skin tones and shows great color separation while also showing a fantastic ability to resolve mixed color temperature sources.

Simple and Safe Operation

Cameras needs to be very simple to operate, and everything about its design must ensure that you get a good image, no matter what. The ALEXA user interface is easy to learn and quick to operate. The same menu, buttons, etc, the interface is used on all ALEXAs, so there is no sorprises when using another model ALEXA. The hardware of the camera has been designed for the best and most ergonomic use on the set, including the built-in shoulder cut-out, large number of accessories like the Low Mode Support LMS-3, the Remote Control Unit RCU-4 or the Wireless Compact Unit WCU-4, down to little details like differently shaped extrusions (eyebrows) above some buttons so the operator can feel the button's position even from the other side of the camera or when shooting in low light.

ALEXA Electronic Viewfinder EVF-1

This viewfinder was specifically designed to meet the needs of professional camera operators by offering an extremely low latency image display, high image quality, accurate color reproduction and a number of features inherited from our optical viewfinders.

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The EVF-1 has a extremely fast image display that has been made possible through the creation of a proprietary high speed connection between the viewfinder and the camera, as well as a shared image processing architecture that maximizes the processing power of both camera and viewfinder. The EVF-1 image exhibits high resolution, high contrast, low distortion and an evenly illuminated viewing area.

 It has been  also specifically designed to fit the ergonomic needs of the operator, even if you are using a matte box on a short prime lens, the compact dimensions of the finder guarantee that the eyepiece can be adjusted to a comfortable position for shoulder operation.

Preset and custom frame lines, user rectangles, surround view, camera status, false color exposure check, peaking focus check, compare stored image with live image, RETURN IN video and an optional anamorphic de-squeeze (license key required on some ALEXA Classic cameras) are options included in the operation of the of assistive displays in the viewfinder.

Its compatibility with Arri Alexa Mini makes these cameras a great option for shooting if you need aerial, underwater or stabilizer shoots are required. The ability to shoot in Raw and 4: 3 with both cameras is a very versatile feature for the new generation of Alexas cameras.

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Two independent HD-SDI outputs

  • optional ARRI Look Files for custom looks
  • streaming metadata
  • 180° image rotation for Steadicam low mode

The ALEXA SUP 11.0 with ProRes 3.2K released includes the use of the ARRI Debayer Algorithm ADA-5 represents an improvement in image quality. This is especially visible in small, high-contrast details (such as thin branches against a blue sky), which will exhibit smoother, cleaner edges. ADA-5 also further reduces noise in the red and blue channels, making bluescreen compositing in VFX even easier.

Other features of SUP 11.0 for all ALEXA models include improved web remote functionality, refined user buttons and the ability to save frame line and time zone information within the camera metadata.

Camera Pack Included

  • Viewfinder EVF-1
  • 2x Cables VF 
  • VMB-3. Bracket & top rods
  • VEB-3 + Extension bracket
  • CCH-1. Top handle
  • BP12
  • Rods 19mm 
  • SP-3. - Shoulderpad
  • Battery plate V-Lock
  • 6x Batteries Onboard 310
  • Power cable ARRi Alexa.
  • 4x XR Cap. Drive 512Gb
  • Single Codex + Accs (Thunderbolt)
  • Monitor Onboard TVLogic 5.6'' Premium
  • Key Lisences: High Speed, De-squeeze, DNxHD.

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.

Available Accessories

  • Fluid head Oconnor or Arri HeadResultado de imagen de arri head
  • Wireles follow focus ARRI WCU4 or Scorpio 
  • Arri FF5 or FF4 or Oconnor cff1
  • Monitores Tvlogic 5.6, 9, 17 and 24 inches.
  • Radioenlaces Paralinx & Teradek Bolt.
  • Matte boc Arri SMB-1, MB14, MB16, LMB5 or LMB4.
  • Filters Tiffen or Schneider Platinum.
  • Magliners Senior.
  • Dit Station.

Technical Specifications

  • In-camera recording Uncompressed and unencrypted ARRIRAW, compressed and unencrypted QuickTime/ProRes or compressed and unencrypted MXF/DNxHD recording onto XR Capture Drives. 
  • Sensor: Super 35, ALEVlll CMOS.

16:9 / 4:3 / Open Gate

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.

  • Super Silent mode
  • SlowMotion

16:9
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 Full
ProRes 2K 0.75 - 48 fps
ARRIRAW 0.75 - 90 fps
4:3 Cropped
ARRIRAW 0.75 - 96 fps

Open Gate
ARRIRAW 0.75 - 75 fps

    • 14 stops of dinamic range.
    • 160-3200 ISO.
    • 4x HD-SDI output (3D outputs)
    • Mpont PL (LDS)
    • weigth 8 Kg.

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    • Zeiss Master Prime  T1.3
    • Zeiss Ultra Prime T1.9
    • Cooke s4/i T2
    • Cooke s2/s3 Rehouled T2.3
    • Zeiss Super Speed MKII & MKIII T1.3
    • UniQoptiks T1.9
    • Zoom Angenieux Optimo 24-290mm T2.8
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    By on09 Feb 2017 (ARRI ALEXA XT) :
    (5/5

    Alexa XT

    As for the rest of the Arri digital cinema line up, state of the art imaging technique in german steel> an all condition/proof cámara

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