ARRI’s large-format camera system consists of the ALEXA LF camera, ARRI Signature Prime and Zoom lenses, LPL lens mount and PL-to-LPL Adapter.
Featuring a sensor slightly larger than full frame, the ALEXA LF camera records native 4.5K with ARRI’s best overall image quality.
This allows filmmakers to explore the immersive large-format aesthetic while retaining the sensor’s natural colorimetry, pleasing skin tones and stunning capability for HDR workflows.
Versatile recording formats, including efficient ProRes and uncompressed, unencrypted ARRIRAW up to 150 fps, encompass all on-set workflow requirements.
Image quality in large format
- Large-format aesthetic
- Arri color science for natural, pleasing skin tones
- Huge dynamic range for most flexibility in post and HDR
- True 800 ASA with reduced noise
LPL Lens Mount
- Large Positive Lock (LPL) lens mount is optimal for large-format lenses
- Wide diameter (62 mm) and short flange depth (44 mm)
- Based on robust, reliable and proven PL technology
- Also available for ALEXA 65, ALEXA Mini and third-party cameras
- PL-to-LPL Adapter allows compatibility with PL mount lenses
- Compatible with LDS-1, LDS-2 and /i
Electronic Viewfinder EVF-2
- Great image quality
- Easy judging of focus, dynamic range and color
- High-end ARRICAM eyepiece for clearest picture
- Wide exit pupil for greater movement range of operator
- Stable color balance at all ambient temperatures and brightness levels
- EVF-1 compatibility mode
More flexibility due to wireless design
- Integrated wireless video, ARRI ECS and WiFi radios
- No interference between the integrated radios
- ARRI built-quality & reliability
- Smaller and lighter than with external transmitters
- Fewer cables, therefore fewer cable problems, faster setup (power on and go)
- Accompanied by ARRI wireless video receivers and accessories
Perfect for slow-motion
- 90 fps in LF Open Gate & LF 16:9 sensor modes
- 150 fps in LF 2.39:1 for sensuous slow motion
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PL (with adapter)
Arri’s large format camera system
The LF camera system consists of the high-speed Alexa LF and Alexa Mini LF cameras, Arri Signature Prime and Zoom lenses, LPL lens mount and PL-to-LPL adapter.
The combined feature sets and form factors of Arri’s 2 large-format cameras encompass all on-set requirements.
Lens options for ARRI large-format cameras
Optimized for large-format lenses, the LPL lens mount fitted to ALEXA LF and ALEXA Mini LF cameras accepts ARRI Signature Primes and Zooms, and third-party LPL lenses.
The PL-to-LPL adapter, which attaches securely to the LPL lens mount without tools, offers backwards compatibility with all PL mount lenses, be they Super 35 or full frame. LDS-2 or /i lens metadata is accessible via the LPL mount, and LDS-1 or /i via the PL-to-LPL adapter.
ARRI’s Frame Line and Lens Illumination Tool illustrates how much of the large-format sensor is covered by a given lens.
An introduction to the sensor at the heart of the ALEXA LF – a sensor that is slightly larger than full frame, and that is Netflix compatible in all modes.
The ALEXA LF can record onto ARRIRAW or ProRes, and gives the option to record in native resolution, or to ‘down-res’ to HD or 2K as required.
A quick look at how the ALEXA LF delivers the same picture quality as other ARRI ALEXAs but with less noise, and new noise reduction options.
In this short film we take you through some of the features of the new ALEXA LF – its user interface, compatibility with existing accessories and monitoring outputs.
This video looks at the new LPL mount and PL-to-LPL adapter, which are designed to give you a very wide range of creative lens options for the ALEXA LF.
Want to know how to prepare your SD Card for use with ALEXA SXT / ALEXA LF?
Shot with Arri Alexa LF and 35, 47 & 75 mm Arri Signature Prime lenses
Shot with Arri Alexa LF and Arri Signature Primes, Angenieux zoom and Nikor lenses.
Shot with Arri Alexa LF and 25, 47, 75 & 125 mm Arri Signature Prime lenses
Yes. ALEXA LF is Netflix approved in all three sensor modes (LF Open Gate, LF 16:9 and LF 2.39:1) and in ARRIRAW and ProRes (4444 XQ, 4444 and 422 HQ) recording formats. The ALEXA LF is listed on the Netflix “Help Center Support Page“.
Note 1: While full frame lenses cover the full ALEXA LF sensor in all three sensor modes, many Super 35 spherical lenses also cover the LF 16:9 sensor mode, including:
- ARRI Ultra Primes ≥ 20 mm
- ARRI Master Primes ≥ 35 mm
- ARRI Master Macro 100
- ARRI Ultra Wide Zoom 9.5 – 18 ≥ 10 mm
- ARRI Alura LWZ 15.5 – 45 with Alura Extender 1.4x
- ARRI Alura LWZ 30 – 80 mm
- ARRI Alura Studio zoom 18 – 80 from 40 mm on without extender
- ARRI Alura Studio zoom 18 – 80 with Alura Extender 1.4x
- ARRI Alura Studio zoom 45 – 250 from 100 mm on
- ARRI Alura Studio zoom 45 – 250 with Alura Extender 1.4x
Note 2: While full frame anamorphic lenses are slowly entering the market, shooting with existing 35 format anamorphic lenses is also possible by using LF Open Gate and cropping the desired area from the image in post-production. A Netflix approved ARRI white paper with details can be downloaded directly here.
Amongst other topics, the white paper covers two methods for shooting with anamorphic lenses for a 4K mandate:
- When shooting with 35 format 2x anamorphic lenses for a 2:1 aspect ratio result, Netflix accepts the use of a 2880 x 2880 area on the ALEXA LF sensor. All Master Anamorphic lenses cover this area.
- When shooting with 35 format 2x anamorphic lenses for a 2.39:1 aspect ratio result, Netflix accepts the use of a 3148 x 2636 area on the ALEXA LF sensor (if you have gotten Netflix approval for 2.39:1 to begin with). Master Anamorphic lenses from 40 mm on cover this area, and the ARRI Anamorphic Ultra Wide Zoom AUWZ 19-36 covers this area from 21 mm on for wide angle shots.
Note 3: Netflix recommends that lenses not specifically designed for large format be thoroughly tested for adequate sensor coverage, and for satisfaction of the production’s creative intent. To check the illumination of different lenses on ARRI cameras, please try the Frame Line & Lens Illumination Tool.
Note 4: Please note that the UHD SDI output of this camera is also approved by Netflix and has already been used in a number of projects.
The top end of the ALEXA LF power draw from a 12V on-board battery would generate currents that various components in the camera/battery-adapter/on-board-battery system are not rated for.
The power input of the ALEXA LF has been set to 18.5 – 34 V for the on-board battery interface (19.5 to 34 V for the BAT connector). The current ALEXA battery adapters for 12V Gold mount (BAB-G K2.72003.0 and BAT-G K2.72006.0) and 12V V Lock (BAB-V K2.72010.0 and BAT-V K2.72011.0) will not work with the ALEXA LF.
However, there are three alternative battery adapters offered by ARRI: the “Battery Adapter Back High Load Gold Mount” (BAB-HG), the “Battery Adapter Back High Load V Mount” (BAB-HV) and the “RP-CFA1” battery adapter. Additionally, there is a range of other options are available from third party on-board battery manufacturers. An overview of all on-board battery solutions for ALEXA LF can be found in the Technical Info “ALEXA LF & On-board Batteries”.
The use of existing 35 format anamorphic lenses for a native 4K mandate is also possible by using LF Open Gate and cropping the desired area from the image in post-production. A Netflix approved ARRI white paper with details can be downloaded directly here.
Amongst other topics, the white paper covers two methods for shooting with anamorphic lenses for a native 4K mandate:
- When shooting with 35 format 2x anamorphic lenses for a 2:1 aspect ratio result, Netflix accepts the use of a 2880 x 2880 area on the ALEXA LF sensor. All Master Anamorphic lenses cover this area (see left image).
- When shooting with 35 format 2x anamorphic lenses for a 2.39:1 aspect ratio result, Netflix accepts the use of a 3148 x 2636 area on the ALEXA LF sensor (if you have gotten Netflix approval for 2.39:1 to begin with). Master Anamorphic lenses from 40 mm on cover this area (see right image), and the ARRI Anamorphic Ultra Wide Zoom AUWZ 19-36 covers this area from 21 mm on for wide angle shots.
Arri Alexa LF tools
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