ARRI ALEXA XT PLUS 4:3

RENT ARRI ALEXA XT PLUS

ARRI ALEXA XT PLUS CAMERA RENTAL - HIRE

The ARRI ALEXA XT PLUS 4:3 rental - hire camera stands out from the ARRI ALEXA range because of its flexibility and because of how versatile it could be. With an integrated wireless receiver for camera and lens remote control, a built-in tilt and roll sensors, a DNxHD license and additional connectors for camera and lens control; it also has signal output and an accessory power supply. The ARRI ALEXA XT PLUS 4:3 rental-hire camera offers the best solution for anyone who can't live without an optical viewfinder.

Furthermore, the amazing ALEV III 4:3 sensor allows “squeezing” the best out of both vintage anamorphic lenses (giving practically the same look the glorious Cinemascope Open Gate did) and new modern lenses. Anamorphic desqueeze, high speed and “super silent fan” licenses are included.

Built-in Camera Remote Control Features. With its features, the ARRI ALEXA XT PLUS 4:3 rental-hire camera will make you save time and weight thanks to its integrated wireless and lens control infrastructure. You will forget those days when you had to setup external motor control boxes that made everything more complicated. Due to its built-in radio and lens motor electronics, the ARRI ALEXA XT PLUS 4:3 rental/hire camera makes working on the set faster and more efficient. It's compatible with ARRI hand units (like WCU-4) and with c-motion hand units, this makes the Arri Alexa XT Plus 4:3 rental-hire camera an extremely flexible tool.

ARRI ALEXA XT camera family features

Record it all: Open Gate sensor mode. Using the full ARRI ALEXA sensor area, Open Gate mode is great for VFX shows, up-sampling to 4K, image repositioning, resizing, rotating and stabilizing. While some use it as their main recording format, others mainly shoot in 16:9 or 4:3 and mix certain scenes in Open Gate.

True anamorphic with 4:3 sensor mode. Each ARRI ALEXA XT camera is equipped with an Open Gate sensor that has the same size and shape as a Super 35mm film frame, which gives the most effective use with anamorphic lenses. The 4:3 sensor mode is crucial for the cinematic widescreen look that emulates CinemaScope films; this cinematographic essence has been really appreciated by cinematographers, esthetic professionals from the image world and viewers. In all the ALEXA XT cameras, the de-squeeze license is included, that way we'll get a correct viewing/monitoring 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 accommodate this, as you can see in the left image. Since film and the ALEXA sensor have almost the exact same dimensions, they exhibit the same angle of view as 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. If you are shooting with spherical lenses you will find the 4:3 sensor useful, as it allows the placement of tracking markers below and above the image; this method is very popular in VFX filmmaking. Another useful thing is that the extra room can be used for reframing in post-production.

Faster, lighter and more affordable ARRIRAW. The XR Module (eXtended Recording) is also available for rental/hire. It's a side panel that comes with all ALEXA XT cameras, and has been co-developed with 'Codex' to replace the previous SxS Module. This device allows in-camera recording of uncompressed and unencrypted ARRI RAW (ALEXA's highest quality image output) all the way up to 120fps in full image quality. This simplifies setups and operations avoiding unnecessary wiring, it also makes the camera package smaller, lighter and more affordable.

ARRI ALEXA XT cameras record ARRI RAW onto exceptionally fast and sturdy 512GB 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 to post-production. This Drive is flexible to any budget and time schedule demand, and it uses the well-known 'Codex' workflow. Ask us for rental-hire options.

Powerful and Unique ProRes & DNxHD Options in camera. It is also possible to capture ProRes or DNxHD in-camera as an alternative to ARRI RAW. ARRI 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 that can be recorded for a total time of 107 minutes (at 24fps) and can be recorded as fast as 120fps, this offers 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 C-Fast 2.0 Adapter it is possible to record onto C-Fast 2.0 cards.

A high speed license for filming up to 120fps in 16:9 and 96fps in 4:3 is included in all ALEXA XT cameras. Available for rental-hire in Camaleon Rental.

High quality internal full-spectrum ND filters Alexa XT. For the first time, the in-camera Filter Module IFM-1 offers neutral density (ND) filters that maintain a neutral color balance at all densities. 

More efficient VFX through lens metadata. All ALEXA XT models are equipped with an LDS lens mount. They also insert metadata into all recording and output devices, which is really useful on set but also for a faster VFX post workflow. This metadata is used by the Wireless Compact Unit

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 much easier 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 built-in LDS, including the ARRI/Zeiss Master Anamorphic, 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. On other lenses without LDS, it is possible to gather its metadata with an ARRI lens motor and a lens scale stored in camera (Lens Data Archive).

Super Silent ALEXA XT Fan. A new super silent fan has been incorporated into the new ALEXA XT rental/hire camera models, it's even more silent than the ones in the rest of ALEXA rental-hire camera models, which were already one of the quietest digital cameras in the market.

If you are looking for the rental-hire of a camera that gives excellent Image Quality: The ALEXA sensor provides high dynamic range images and 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 detailed information in the highlight points and dark areas than in any of the current display technologic devices, which can be translated into great flexibility when color grading. This makes ALEXA's images future-proof for high dynamic range (HDR) display technologies.

Because of ALEXA's great overall image quality, filmed images can easily go up or down-sampled for spectacular HD, 2K, 4k UHD or Cinema 4K. This is very important when planning your camera rental/hire.

ALEXA's high sensitivity and its ability to retain definition, even in extremely under or overexposed situations, makes it a very easy camera to work with. ALEXA renders natural colors, gives great-looking skin tones, and shows great color separation. It also has a fantastic way of resolving mixed color temperature sources.

ALEXA XT camera Electronic Viewfinder EVF-1 rental - hire. This viewfinder is available for rental-hire, and it was specifically designed to meet the needs of professional camera operators by offering an image display with an extreme low latency, high image quality, accurate color reproduction, and a number of features inherited from other optical viewfinders.

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

It has also been 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 of the rental/hire camera.

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