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Cinematography Assignment
ARRI
Camera Models
Arri has a strong lineup of digital cinema cameras, known for their image
quality, color science, and reliability. Here’s a list of the major digital
models they’ve manufactured over the years:
1. ARRIFLEX D-20 and D-21 Series
ARRIFLEX D-20 (2005): Arri’s first digital cinema camera, designed
to emulate 35mm film quality.
ARRIFLEX D-21 (2008): An upgraded version with enhanced color
science and dynamic range.
2. ALEXA Series
The ALEXA series is the most popular lineup by Arri, known for its image
quality, color depth, and high dynamic range.\
ALEXA Classic (2010): The original model that set the standard for
high-end digital cinematography.
ALEXA Plus (2011): Added features like wireless remote control, lens
data integration, and an integrated 3-axis motion sensor.
ALEXA Studio (2011): Featured an optical viewfinder and a 4:3 sensor
for anamorphic lenses.
ALEXA XT (2013): Introduced an extended sensor mode, improved
cooling, and an internal ND filter system.
ALEXA SXT (2016): Further upgraded with advanced color science and
higher data rates for ProRes.
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ALEXA LF (2018): Large-format sensor, designed to capture richer
detail with a broader field of view.
ALEXA Mini (2015): Compact, lightweight version popular for aerial and
gimbal-mounted shots.
ALEXA Mini LF (2019): Combines the large-format sensor of the LF
with the compact body of the Mini.
1. AMIRA Series
AMIRA (2014): A versatile camera with the same sensor as the
ALEXA but designed for documentary, television, and handheld
work. It’s more ergonomic and includes in-camera grading
features.
2. ALEXA 65 Series
ALEXA 65 (2015): A high-resolution, 65mm large-format camera
exclusively available through Arri Rental, used for large-scale
productions needing ultra-high resolution and a medium-format
look.
3. ALEXA 35
ALEXA 35 (2022): The newest model with a Super 35 sensor,
offering an advanced color science upgrade and a wider dynamic
range.
4. ALEXA XR Module
ALEXA XR: An enhanced storage version available as an upgrade
or factory model, offering higher-resolution capabilities.
Lens Types
1. Signature Prime Lenses: These are large-format prime lenses known
for their cinematic quality, creating natural and smooth images with
shallow depth of field, ideal for high-end productions.
2. Signature Zoom Lenses: These large-format zoom lenses complement
the Signature Prime lenses, maintaining consistent quality and color
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rendition across focal lengths, making them versatile for dynamic
shooting scenarios.
3. Master Anamorphic Lenses: Offering a classic anamorphic look with
minimal distortion and aberrations, these lenses create the iconic
widescreen, oval bokeh effect, ideal for anamorphic cinematography.
4. Ultra Prime Lenses: A versatile set of prime lenses known for their
precision and clarity, Ultra Primes cover both standard and wide focal
lengths, making them popular across various genres.
5. Master Prime Lenses: Developed with high-end production in mind,
these lenses offer exceptional sharpness, high contrast, and the ability
to shoot in low-light conditions without compromising quality.
6. Ultra Wide Zoom Lenses: Providing a super-wide perspective with
minimal distortion, these zoom lenses are perfect for capturing
expansive scenes or tight spaces with dramatic effect.
7. Alura Zoom Lenses: A collaboration between Arri and Fujinon, these
are lightweight, versatile zoom lenses that come in both wide-angle
and long-zoom options, designed for high-quality broadcast and
documentary work.
8. Compact Zoom Lenses: With a compact design for easy handling,
these zoom lenses offer a balance between image quality and
portability, suitable for handheld and gimbal-based shooting.
9. Enso Prime Lenses: Small, lightweight, and versatile, ARRI Ensö lenses
deliver exceptional images in almost any conditions. The beautifully
smooth and balanced native look can be tuned with Enso Vintage
Elements, which attach to the back of the lenses, allowing many
different looks to be achieved with a single, cost-effective lens set.
Mounts
1. PL Mount (Positive Lock)
Standard PL Mount: The industry standard for cinema cameras,
compatible with a wide range of cinema lenses from Arri and other
manufacturers.
• LDS (Lens Data System) PL Mount: Adds Arri’s LDS
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technology, allowing the camera to receive lens metadata (such as
focus distance, iris setting, and zoom position) from compatible
lenses, which is useful for visual effects, virtual production, and
post-production.
2. LPL Mount (Large Positive Lock)
Introduced with the Arri ALEXA LF, the LPL mount is designed
specifically for large-format sensors, allowing for faster and lighter
lenses while maintaining high image quality.
• The LPL mount supports Arri Signature Prime and Signature
Zoom lenses and is also backward-compatible with PL-mount
lenses through an adapter.
3. EF Mount
Available as an adapter option for some Arri cameras, such as the
ALEXA Mini and AMIRA, the EF mount allows the use of Canon EF
still-photo lenses. This is popular for productions that need
lightweight or budget-friendly lenses.
4. B4 Mount
Compatible with broadcast lenses, the B4 mount is available as an
adapter for cameras like the AMIRA, which is sometimes used in
broadcast and documentary settings.
5. M Mount
Available for certain models, the M mount supports Leica M lenses,
allowing more stylistic choices and often used for specific
cinematic looks or vintage aesthetics.
6. PL to LPL Adapter
Arri offers a PL-to-LPL adapter, which enables PL lenses to be
used on cameras with LPL mounts, maintaining compatibility with a
wide range of lenses from older models or third-party
manufacturers.
ARRI ALEXA SXT W
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The Arri Alexa SXT W is part of Arri’s Super 35mm ALEXA line, which is
known for its exceptional image quality, dynamic range, and robust design.
The “SXT” stands for “Super Extended Technology,” while the “W” in “SXT
W” denotes “Wireless,” indicating the model’s integrated wireless features.
The Alexa SXT W was designed to meet the demands of high-end film
production with advanced color science, reliable wireless control, and
seamless workflow integration.
Key Features of the Arri Alexa SXT W
1. Sensor and Image Quality
Sensor Type: The camera uses Arri’s ALEV III CMOS Super 35
sensor, the same trusted sensor across the ALEXA line, delivering
2.8K resolution.
• Resolution: Captures up to 3.4K in Open Gate mode, with
other options like 2K and HD, which can be downscaled for
different delivery requirements.
• Dynamic Range: Exceptional 14+ stops of dynamic range,
enabling great detail in both highlights and shadows, ideal for high-
contrast scenes.
• Color Science: Arri’s renowned color science, designed to
render natural skin tones and accurate colors, making it a popular
choice for cinematographers in Hollywood.
2. Recording Formats and Codecs
ARRIRAW and ProRes: Offers a choice between ARRIRAW
(uncompressed) and ProRes (compressed) formats, providing
flexibility for either maximum image quality or more manageable
file sizes.
• Internal Recording: Equipped with Codex SXR Capture Drives,
it supports internal recording in ARRIRAW up to 3.4K and ProRes
up to 4K UHD resolution.
• Recording Modes: Multiple formats, including 16:9, 4:3, and
Open Gate, offer versatility for different aspect ratios, particularly
for anamorphic and spherical lenses.
3. Wireless Features
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Integrated Wireless Control: The “W” in SXT W includes integrated
Wi-Fi, enabling wireless control of camera functions and settings
via Arri’s Electronic Control System (ECS) or the Arri Camera
Control App.
Wireless Video Transmission: Integrated HD video transmitter
allows real-time monitoring on set without additional external
equipment, making it easier to operate and reducing setup time.
Remote Camera Control: Operators can access full camera control
via the Wi-Fi connection, allowing seamless communication with
gimbals, drones, and other remote setups.
4. Advanced Color Management
Look Management: Supports custom look files (Arri Look Files) for
in-camera color grading, which allows cinematographers to apply
LUTs (Look-Up Tables) on set, providing more creative control over
the look of the image before post-production.
ASC CDL (American Society of Cinematographers Color Decision
List): Built-in CDL support allows on-set color grading for precise
adjustments and matches in post.
5. Versatile Lens Compatibility
Lens Mount: Equipped with the industry-standard PL mount, the
Alexa SXT W is compatible with a broad range of high-quality
cinema lenses.
LDS and LDS-2: Arri’s Lens Data System (LDS) and LDS-2 provide
real-time lens metadata, which is valuable for visual effects,
tracking, and post-production workflows.
6. Power and Battery Options
Battery Compatibility: Compatible with 24V and 12V power options,
making it adaptable to most industry-standard batteries.
Power Draw: Uses advanced power-saving technology, despite the
high level of processing power needed for ARRIRAW recording and
wireless transmission features.
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7. User-Friendly Design and Interface
Body Design: Compact and rugged design, optimized for
professional cinema setups with a modular build that
accommodates a wide range of accessories.
Interface: Intuitive interface with user-configurable buttons, a large
7” viewfinder, and easy-to-navigate menus, designed to minimize
setup and on-set adjustments.
8. On-Set and Post-Production Workflow Integration
Codex Workflow: Integrated with Codex software for streamlined
media management, allowing quick offloads, metadata handling,
and simplified editing pipelines.
Metadata Support: Supports detailed metadata capture, essential
for VFX work, including information like camera settings, lens data,
and recording format.
Future-Proof Design: Arri offers firmware updates to expand the
camera’s capabilities, ensuring compatibility with new workflows,
color science upgrades, and hardware support.
9. Key Use Cases
The Alexa SXT W is suitable for high-end film productions, TV
series, and commercials, especially those requiring complex
setups, wireless monitoring, and remote operation.
Its wireless control features and reliability make it ideal for complex
rigging setups, gimbal operations, aerial shots, and situations
where control over camera settings is required from a distance.
Sensor Sizes
1. RED ONE (2007)
Super 35
2. RED EPIC Mysterium-X (2010)
Super 35
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3. RED SCARLET (2011)
Super 35
4. RED DRAGON (2013)
Super 35
5. RED RAVEN (2015)
APS-C
6. RED WEAPON 8K VV (2016)
Full Frame
7. RED EPIC-W (2016)
Super 35
8. RED MONSTRO 8K VV (2017)
Full Frame
9. RED GEMINI 5K S35 (2018)
Super 35
10. RED KOMODO 6K (2020)
Super 35
11. RED RANGER (2019)
Super 35
12. RED V-RAPTOR 8K VV (2021)
Full Frame
13. RED V-RAPTOR XL 8K VV (2022)
Full Frame
ARRI Digital Cinema Cameras
1. ARRIFLEX D-20 (2005)
Super 35
2. ARRIFLEX D-21 (2008)
Super 35
3. ARRI ALEXA Classic (2010)
Super 35
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4. ARRI ALEXA Plus/XT/SXT Series (2011–2016)
Super 35
5. ARRI ALEXA Mini (2015)
Super 35
6. ARRI AMIRA (2014)
Super 35
7. ARRI ALEXA LF (2018)
Full Frame
8. ARRI ALEXA Mini LF (2019)
Full Frame
9. ARRI ALEXA 65 (2015)
65mm format
10. ARRI ALEXA 35 (2022)
Super 35
Blackmagic Design Digital Cinema Cameras
1. Blackmagic Cinema Camera (2012)
Super 16
2. Blackmagic Pocket Cinema Camera (2013)
Super 16
3. Blackmagic Production Camera 4K (2014)
Super 35
4. Blackmagic URSA 4K (2014)
Super 35
5. Blackmagic URSA Mini 4.6K (2015)
Super 35
6. Blackmagic URSA Mini Pro 4.6K (2017)
Super 35
7. Blackmagic Pocket Cinema Camera 4K (2018)
Micro Four Thirds
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8. Blackmagic Pocket Cinema Camera 6K (2019)
Super 35
9. Blackmagic URSA Mini Pro 12K (2020)
Super 35
10. Blackmagic Pocket Cinema Camera 6K Pro (2021)
Super 35
Formats Difference
ProRes and ARRIRAW are two popular formats from Apple and Arri,
respectively, used in film and video production, each with unique qualities:
ProRes is a compressed format that maintains high quality with smaller file
sizes. It’s easy to work with in post-production, supports 10- or 12-bit
depth, and offers some color grading flexibility. It’s ideal for TV, indie films,
and projects where high quality is needed without RAW’s storage
demands.
ARRIRAW is an uncompressed or lightly compressed RAW format that
captures all sensor data for maximum image quality and post-production
flexibility. With 12-bit or higher depth, it allows extensive color
adjustments, making it perfect for high-end cinema and VFX-heavy
productions, though it requires more storage and specialized workflow.
In summary:
ProRes = Smaller files, easier workflow, ideal for high-quality productions.
ARRIRAW = Full sensor data, maximal post flexibility, ideal for high-budget
films.
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