Flexibility of the ALEXA XT M benefits Action, Aerial and 3D shooting

ALEXA XT M (XT = Xtended Technology, M = Modular)

In 2010, Arri Alexa was introduced the filmmaking community. The film-style digital motion picture camera system has since taken the industry by storm. 

The Alexa XT M gives the filmmaker the freedom to shoot aerial, action and intensive scenes with modern flexibility. The separate camera body with a light weight head maximize operating range.

The ALEXA XT M (XT = Xtended Technology, M = Modular) is a flexible solution consisting of a separate camera head and body; it is tailored for action and aerial photography, tight corner shots, 3D productions and any application or environment that would challenge a full-sized ALEXA. The M model features the same sensor, image processing, build quality, efficient workflows and exceptional image quality that have made ALEXA such a worldwide success. The head and body of the M are connected with a fiber optic cable, which in a hybrid form can also be used for powering the head. Weighing well under 3 kg, the compact front end offers multiple mounting points and versatile maneuverability. Meanwhile the body provides various options for recording images, sound and metadata, accommodating all workflows of the standard ALEXA XT.

Like all ALEXA XT cameras it has 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.

http://www.arri.com/camera/alexa/cameras/camera_details/alexa-xt-m/

Features

  • Separate camera head and body
  • Record it all: Open Gate sensor mode
  • True anamorphic with 4:3 sensor mode
  • Space for VFX markers in 4:3 sensor mode
  • Faster, lighter and more affordable ARRIRAW
  • Powerful and Unique ProRes & DNxHD Options
  • High quality internal full-spectrum ND filters
  • More efficient VFX through lens metadata
  • Safely carry CDL color correction metadata into post
  • Super Silent ALEXA XT Fan
  • Viewfinder Mounting Bracket VMB-3

Specs

Camera Type

  • 35 format film-style digital camera with separate camera head and body, an electronic viewfinder, a 4:3/16:9 switchable active sensor area, built-in filter holder, Lens Data System.
  • Sensor 35 format ALEV III CMOS sensor with Bayer pattern color filter array.

Photo Sites        

16:9

  • 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

4:3 Full

2880 x 2160 used for ARRIRAW 4:3 Full

2868 x 2150 down sampled to 2048 x 1536 for ProRes 2K 4:3

4:3 Cropped

2578 x 2160 used for ARRIRAW 4:3 Cropped

Open Gate

3414 x 2198 used for ARRIRAW Open Gate


Frame Rates      

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

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).

Exposure Index               

  • Values behind the exposure index are the number of stops above and below 18% grey. These values are for Log C. Rec 709 is the same except for 0.3 stops fewer in the low end at EI 160, 200 and 400.

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

Color Correction              

  • While white balance changes the red/blue hue of the image, color 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. 95 W power draw for body in typical use recording to SxS PRO cards at room temperature, without accessories. 40 W power draw for head in typical use recording ProRes at 24 fps to an SxS PRO card at room temperature without accessories. A 24 V power input to the body is required to power the camera head from the body through a standard SMPTE 311M hybrid fiber cable up to 50 meters, without accessories. The camera head has one 10.5 to 34 V DC power input that can be used to optionally power the head independently from the camera body to allow greater distances between head and body.

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. The camera head offers two RS connectors and one ETHERNET connector, with the same specifics as on the camera body.

Weight

  • ALEXA XT M head: 2.9 kg/6.4 lbs.
  • ALEXA XT M body with XR Module: 5.8 kg/12.8 lbs.

Dimensions       

  • Head: Length: 212 mm/8.35”, width: 129 mm/5.08”, height: 149 mm/5.87”
  • Body: Length: 323 mm/12.72”, width: 161 mm/6.33”, height: 158 mm/6.22”

Dimensional drawings available at www.arri.com/alexa/downloads

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        

  • Optional electronic viewfinder: 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 magnification 'pixel to pixel'), EXP button (false color 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 color 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 body right: Main user interface with a 3” transflective 400 x 240 pixel LCD color screen, illuminated buttons, button lock and jog wheel. Camera body left: Operator interface with illuminated buttons and button lock. Camera head: REC button and POWER button (POWER button is active when head is run by local power supply through the head's BAT input). 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     

  • In camera body: 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 color space. Target output color 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.

For full list visit www.ARRI.com

 

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