Large-format aesthetic with ALEXA image quality
Featuring a sensor slightly larger than full frame, ALEXA LF records native 4K with ARRI’s best overall image quality. This allows filmmakers to explore an immersive large-format aesthetic while retaining the sensor’s natural colorimetry, pleasing skin tones and stunning capability for HDR and WCG workflows. Versatile recording formats, including efficient ProRes and uncompressed, unencrypted ARRIRAW up to 150 fps, encompass all on-set workflow requirements.
Three sensor modes
for limitless applications
ALEXA LF has the largest sensor of any full-frame cinema camera on the market. Maintaining the ALEXA family’s optimal pixel size for highest overall image quality results in a 4448 x 3096 picture, which can be recorded in full using the LF Open Gate mode. An LF 16:9 mode maximizes lens options while meeting 4K deliverable standards, and an LF 2.39:1 mode combines a cinematic widescreen image with high frame rates up to 150 fps for sensuous slow motion. All sensor modes offer true 800 ASA sensitivity as well as reduced noise, providing the perfect canvas for modern, subtle lighting techniques.
| ARRIRAW | 90 fps |
| ProRes 422 | 60 fps |
| ProRes 422 HQ | 60 fps |
| ProRes 4444 | 60 fps |
| ProRes 4444 XQ | 40 fps |
| ARRIRAW | 90 fps |
| ProRes 422 | 60 fps |
| ProRes 422 HQ | 60 fps |
| ProRes 4444 | 60 fps |
| ProRes 4444 XQ | 60 fps |
| ARRIRAW | 150 fps |
| ProRes 422 | 100 fps |
| ProRes 422 HQ | 100 fps |
| ProRes 4444 | 100 fps |
| ProRes 4444 XQ | 60 fps |
Maximum frame rates with SXR Capture Drives / Top speed 150 fps
A larger mount for a larger format
A crucial element of this new system is the LPL lens mount, optimized for large-format sensors. A wider diameter and shorter flange focal depth allows the ARRI Signature Prime lenses and all future large-format optics to be small and lightweight, with a fast T-stop and pleasing bokeh—a combination of features that would not be possible within the confines of the PL lens mount. The LPL mount will also be available for other ARRI cameras such as the ALEXA Mini, and is being licensed to third-party lens and camera manufacturers.
Organic images filled with life and emotion
Accompanying the ALEXA LF camera are 16 large-format ARRI Signature Prime lenses, ranging from 12 mm to 280 mm and fitted with the ARRI LPL mount. While the Signature Primes exemplify state-of-the-art optical precision, they have been designed to render organic, emotionally engaging images, gently softening and texturizing the large format with natural skin tones and creamy bokeh. A fast T-stop of T1.8 facilitates shallow depth of field and the smooth focus fall-off gives subjects heightened presence in the frame.
The ARRI Signature Prime range is the first cine lens series to feature machined magnesium lens barrels, making the optics incredibly lightweight and robust. They are also the first to incorporate ARRI’s next-generation LDS-2 Lens Data System, with high data rates and absolute encoders for fast initializing. LDS-2 extends the possibilities of lens data and is being licensed to other lens and camera manufacturers.
Total lens and accessory compatibility
Although the camera, lens mount and lenses are new, full compatibility with existing PL mount lenses and ALEXA accessories is a cornerstone of the system’s design. A PL-to-LPL adapter offers backwards compatibility with all PL mount lenses, be they Super 35 or full frame. The adapter attaches securely to the LPL lens mount without tools, allowing crews to rapidly switch between PL and LPL lenses on set. Cinematographers are therefore offered an unlimited lens choice, with complete lens metadata accessible from LDS-2, LDS-1 or /i lenses.
For even further cross-system compatibility, an LPL lens mount can be fitted to existing ALEXA, ALEXA Mini and AMIRA cameras. ARRI Signature Primes and other future LPL mount lenses can therefore be used for both Super 35 and large format on productions combining the two.
on productions combining the two.
ALEXA LF is based on the proven, robust ALEXA camera design, so all existing accessories will work right out of the box. Since all other features and the user interface are the same as in the ALEXA SXT W—including the integrated wireless video transmitter and the user interface—crews will adapt quickly.
Simple ARRI workflows
ALEXA LF offers the same tried-and-true, versatile workflows as other ALEXA cameras. Recording at various resolutions is possible in uncompressed, unencrypted ARRIRAW or fast, efficient ProRes. Existing ARRI Look Files can be used with ALEXA LF, and the entire range of ARRI workflow software tools will support ALEXA large-format images. Lens metadata can be recorded from LDS-1, LDS-2 or /i capable lenses.
Helpful tools and applications
ARRI Lens Illumination Guide
A visual online guide to how different lenses illuminate different sensor modes and target aspect ratios.
ARRI Frameline Composer
Easily create custom framelines online, based on your specific requirements.
Formats & Data Rate Calculator
Calculate duration and data rates online for ARRI cameras.
ALEXA LF Camera Simulator
An interactive online training tool for familiarizing yourself with the menu navigation of the ALEXA LF camera.
ARRI Color Tool
Create and load CDLs and 3D LUTs into ARRI cameras with this free-of-charge application.
ARRIRAW Converter
View and convert ARRIRAW for postproduction with this free-of-charge application.
ARRI Meta Extract
Use this free-of-charge application to extract metadata from captured footage.
ARRI large-format camera system Frequently Asked Questions
If you have a question not listed here, please ask in the ARRI Forum.
Version: January 26, 2018.
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Q: What recording resolutions are available with the ALEXA LF?
A: In LF Open Gate sensor mode, the entire sensor at 4448 x 3096 can be recorded (native 4.5K). In LF 16:9 sensor mode there are three options: first, the native 3840 x 2160 (UHD) can be recorded. Second, the camera can downscale 3840 x 2160 to ProRes 16:9 2K (2048 x 1152). Third, the camera can downscale 3840 x 2160 to ProRes 16:9 HD (1920 x 1080). Those downscale options are there if you want to reduce the data rate and have no need for the higher resolutions. In LF 2.39:1 sensor mode, the sensor area of 4448 x 1856 can be recorded (native 4.5K).
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Q: Is this camera Netflix compatible?
A: Since the camera has a resolution of more than 4K, it should be Netflix compatible.
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Q: What are the frame rates of the ALEXA LF with SxS cards?
A: Maximum frame rates with SxS PRO+ cards
– Top speed 90 fps ProRes -
Q: Can I make my own framelines for the ALEXA LF?
A: Yes. In addition to the default framelines built into the camera, there is also the online ARRI Frameline Composer which allows the creation of any frameline your heart desires.
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Q: Can I record MXF/ARRIRAW with the ALEXA LF?
A: No. At this point in time the ALEXA LF records the traditional ARRIRAW (.ari), which is the same format recorded by the ALEXA Classic, ALEXA XT and ALEXA SXT family of cameras.
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Q: Why do you not support XR Capture Drives, CFast 2.0 cards or the smaller capacity SxS PRO cards anymore?
A: This is because the slower and smaller capacity media don’t make sense with the higher data rate of ALEXA LF, and because we wanted to reduce complexity and testing time.
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Q: Is the ARRI Look Library included in the ALEXA LF?
A: Not yet. The Look Library will be part of a future software update for the ALEXA LF.
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Q: Can I magnify the monitor image?
A: Not yet. A zoom and magnify feature very similar to that of the ALEXA 65 will be part of the first software update for the ALEXA LF.
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Q: What is the size of the ALEXA LF?
A: The ALEXA LF is significantly smaller than the ALEXA 65, and only 12 mm longer and wider than the ALEXA SXT W.
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Q: What are those three screws in the front of the camera?
A: The screws have no relevance for the user. They allow us to adjust the sensor planeness (being perfectly parallel with the lens mount surface) in manufacturing. While these three screws are not the actual adjustments but rather capping screws, there are no user-serviceable parts inside.
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Q: Will there be an ALEXA LF Mini?
A: We are looking into the feasibility of this but we do not know yet; in any case, it would be difficult because of the high data rates.
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Q: Why do we need a new lens mount?
A: A larger sensor needs a larger lens mount for optimal lens design. The LPL lens mount allows the design of full-frame lenses that are smaller, lighter and have a faster T-stop than equivalent lenses designed for the smaller PL lens mount. The traditional PL mount would compromise modern full-frame lens design; its diameter was based on the Super 35 sensor size and its long flange focal depth was dictated by the fact that film cameras had a mirror shutter.
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Q: Why is the LPL lens mount flange focal depth not even shorter than 44 mm?
A: Because we wanted it to be compatible with existing ALEXA cameras.
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Q: Can the LPL lens mount be used on other ARRI cameras?
A: Yes, there currently are two versions of the LPL lens mount. The “LPL Lens Mount for ALEXA” can be used on ALEXA Classic, XT, SXT and LF cameras. The “LPL Lens Mount for ALEXA Mini” can be used on ALEXA Mini and AMIRA. However, the LBUS connector on this mount will not work on an AMIRA.
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Q: Can the LPL lens mount be used on other manufacturers’ cameras?
A: We are licensing the LPL mount to other camera manufacturers if they wish.
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Q: Can the LPL lens mount be used on other manufacturers’ lenses?
A: We are licensing the LPL mount to other lens manufacturers if they wish.
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Q: Can I attach the existing 54 mm PL lens mount to the ALEXA LF?
A: Yes, the existing PL lens mount fits on the ALEXA LF as well. However, in tests we have found that a combination of LPL lens mount and PL-to-LPL adapter lets more light through in the corners than the PL lens mount, so we recommend always using the LPL lens mount with PL-to-LPL adapter.
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Q: Why is there only one set of LDS contacts on the LPL lens mount?
A: LPL lenses will only have LDS contacts at the 12 o’clock position and accept LDS-2 and /i signals. The PL-to-LPL adapter can be mounted in two ways on the LPL lens mount: in the 12 o’clock and in the 3 o’clock position. In both mounting positions, the PL-to-LPL adapter supports LDS-1 and /i.
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Q: Can I use anamorphic lenses on the ALEXA LF?
A: Yes, the use of anamorphic lenses for Super 35 or for full frame is easy. ALEXA LF can de-squeeze images from all current anamorphic squeeze ratios (1.25x, 1.3x, 1.5x and 2x) on the viewfinder and monitor outputs. For full-frame anamorphic lenses, use the LF Open Gate sensor mode (left image). For Super 35 anamorphic lenses, use the LF 16:9 sensor mode, which has exactly the same height as the 6:5 anamorphic sensor mode on Super 35 ALEXAs, and crop the sides in post (right image).
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Q: Can I use PL mount lenses on the ALEXA LF?
A: Yes, a PL-to-LPL adapter fits securely into the LPL mount and allows the use of all Super 35 or full-frame PL mount lenses. This adapter ships with each camera and allows fast switching between PL and LPL mount lenses on set.
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Q: How can I use Super 35 lenses on the ALEXA LF?
A: There are many methods for using Super 35 lenses with the ALEXA LF. Here are three of the most common ones:
- Using an image expander
You can use a third-party image expander that will optically magnify the image to cover the full sensor in LF Open Gate sensor mode. This works with spherical as well as anamorphic Super 35 lenses. However, you should be aware of a number of issues:
- For most expanders, the lens needs to be closed to T2.1 or an even smaller aperture.
- Depending on the expander’s magnification ratio, it will lose one or more stops of light.
- It is possible that some image quality might be lost.
- This will not work with all lenses, based on the size of the expander and on how far the lens protrudes into the lens mount.
- Cropping the Super 35 area in post
Using the LPL lens mount and the PL-to-LPL adapter, it is possible to shoot with a Super 35 lens and crop the image in post. This works great for anamorphic and spherical lenses. For anamorphic lenses, the LF 16:9 sensor mode happens to be exactly the same height as the ALEXA Super 35 6:5 sensor mode, which is used for anamorphic lenses (see left image). ALEXA LF 16:9 sensor mode captures 3840 x 2160, and ALEXA S35 6:5 is 2578 x 2160. When working with spherical lenses, you can use the LF 2.39:1 sensor mode, which runs up to 150 fps (right image). Both ALEXA Super 35 3.2K and ALEXA Super 35 2.8K fit within the image area recorded in this sensor mode. While most ARRI Super 35 lenses have an image circle that covers 3.2K, the image circle of some third-party Super 35 lenses does not cover 3.2K, but all Super 35 lenses cover 2.8K.
- Using the illumination circle of Ultra Primes and Master Primes
Lenses have an image circle within which the manufacturer guarantees the optical quality and an illumination circle where there’s still light, but of undefined quality. Both circles of most ARRI lenses are very large, since we wanted to make sure that if a customer shot Super 35 on a film camera, but had forgotten to switch the lens mount from N35 to S35, they would still get an image. Because of that our lenses have a bigger image circle and a bigger illumination circle than most other Super 35 lenses.
In tests, we found that the illumination circle of the Master Prime 35 and longer focal lengths covers the LF 16:9 sensor mode (UHD – 3840 x 2160). Therefore, a production can be shot mostly with Master Primes and use maybe one or two Signature Primes for the wide-angle shots. Note that a MP 35/LF 16:9 has the same horizontal angle of view as MP 26/S35 2.8K (1.33x conversion factor). The same should also be true for Ultra Primes. In fact, a German Netflix TV series called DARK was shot recently with ALEXA 65 and Ultra Prime lenses.
- Using an image expander
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Q: Can I use Leica M lenses on ALEXA LF?
A: Not at the moment. We would have to build a special Leica M lens mount, which we will do if there is enough demand.
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Q: What about other third-party full-frame photo lenses?
A: It might be possible, but we would need to evaluate this.
Lenses have an image circle within which the manufacturer guarantees the optical quality and an illumination circle where there’s still light, but of undefined quality. Both circles of most ARRI lenses are very large, since we wanted to make sure that if a customer shot Super 35 on a film camera, but had forgotten to switch the lens mount from N35 to S35, they would still get an image. Because of that our lenses have a bigger image circle and a bigger illumination circle than most other Super 35 lenses.
In tests, we found that the illumination circle of the Master Prime 35 and longer focal lengths covers the LF 16:9 sensor mode (UHD – 3840 x 2160). Therefore, a production can be shot mostly with Master Primes and use maybe one or two Signature Primes for the wide-angle shots. Note that a MP 35/LF 16:9 has the same horizontal angle of view as MP 26/S35 2.8K (1.33x conversion factor). The same should also be true for Ultra Primes. In fact, a German Netflix TV series called DARK was shot recently with ALEXA 65 and Ultra Prime lenses.ALEXA LF technical details
| Camera Type | Large Format (LF) digital camera with electronic viewfinder EVF-1 and built-in radios for ARRI Wireless Remote System, ARRI Wireless Video System and WiFi | |
| Compatibility | All current ARRI ALEXA accessories,
LPL lenses and PL lenses with PL-to-LPL adapter |
|
| Sensor Mode
LF Open Gate |
36.70 x 25.54 mm
4448 x 3096, ø 44.71 mm ARRIRAW: 0.75 – 90 fps, ProRes: 0.75 – up to 60 fps |
|
| Sensor Mode
LF 16:9 |
31.68 x 17.82 mm
3840 x 2160, ø 36.35 mm ARRIRAW: 0.75 – 90 fps, ProRes: 0.75 – 60 fps |
|
| Sensor Mode
LF 2.39:1 |
36.70 x 15.31 mm
4448 x 1856, ø 39.76 mm ARRIRAW: 0.75 – 150 fps, ProRes: 0.75 – up to 100 fps |
|
| Shutter | Electronic rolling shutter, 5.0º – 358.0º | |
| Internal ND Filter | One of 8 available Large Format Full Spectrum Neutral Density (LF FSND) filters can be inserted manually in front of the sensor (ND 0.3 to ND 2.4) | |
| Exposure
Latitude |
14+ stops | |
| Exposure Index | EI 800 | |
| Sound Level | Sound level ≤ 20 db(A) while recording LF Open Gate ProRes 4.5 K 4444 @ 30 fps and ≤ +30° Celsius (≤ +86° Fahrenheit), measured 1 m/3 feet in front of the lens | |
| Power In | 11.5 to 34 V DC | |
| Power Out | 4x RS (24 V), 1x 12V (12 V), 1x EXT (24 V), 1x ETH (24 V) | |
| Weight
(body + LPL) |
7.8 kg/17.2 lbs. | |
| Dimensions
(body + LPL) |
L 364 mm/14.33”
W 201 mm/7.91” H 158 mm/6.22” |
|
| Operating
Temperature |
-20° C to +45° C (-4° F to +113° F) | |
| Lens Mount | 62 mm LPL mount (LDS-1, LDS-2 & /i) | |
| Flange Focal Depth | 44 mm | |
| Recording
Codecs |
ARRIRAW (.ari)
QuickTime/ProRes (422, 422 HQ, 4444 & 4444 XQ) |
|
| Recording
Resolutions |
4.5K (sensor modes LF Open Gate and LF 2.39:1)
UHD (sensor mode LF 16:9) 2K (in-camera downscale in sensor mode LF 16:9) HD (in-camera downscale in sensor mode LF 16:9) |
|
| Supported Media | SxS PRO+ 256 GB (ProRes)
SXR Capture Drives 1 TB (ARRIRAW or ProRes) SXR Capture Drives 2 TB (ARRIRAW or ProRes) |
|
| Monitor Outputs | MON OUT 1a, 1b and 2: SDI 6G UHD or SDI 1.5G HD up to 30 fps.
MON OUT 3: SDI 1.5 G HD up to 30 fps, also wireless video Anamorphic de-squeeze for 1.25x, 1.3x, 1.5x, 2x lens squeeze ratios |
|
| Image Processing | 16 bit linear in ALEXA Wide Gamut/Log C color space
Target output color spaces: Log C, Rec 709 or Rec 2020 Supports ARRI Look File (ALF-2) with CDL values and a 3D LUT 3D LUTs available for SDR, HDR PQ and HDR HLG |
|
| Playback | ARRIRAW or ProRes | |
| Audio | 1x XLR 5 pin AUDIO IN for 2 channels, line level |
Signature Prime technical details
| Name | ARRI
SIGNATURE PRIME 18/T1.8 |
ARRI
SIGNATURE PRIME 21/T1.8 |
ARRI
SIGNATURE PRIME 25/T1.8 |
ARRI
SIGNATURE PRIME 29/T1.8 |
|||||
| Release | 2018 | 2018 | 2018 | 2018 | |||||
| Lens Mount | LPL | LPL | LPL | LPL | |||||
| MOD from sensor plane (minimum marked distance) | 0.35 m / 14″ | 0.35 m / 14″ | 0.35 m / 14″ | 0.35 m / 14″ | |||||
| MOD from lens front | 0.13 m / 5.1″ | 0.13 m / 5.1“ | 0.13 m / 5.1″ | 0.13 m / 5.1“ | |||||
| Length from flange | 178 mm / 7.01“ | 178 mm / 7.01“ | 178 mm / 7.01“ | 178 mm / 7.01“ | |||||
| Magnification Ratio at MOD (Paraxial) | 1:9.2 | 1:8.2 | 1:7.1 | 1:6.4 | |||||
| Entrance pupil position (related to image plane, in direction to object) | 189.9 mm / 7.48“ | 183.4 mm / 7.22“ | 178.1 mm / 7.01“ | 166.0 mm / 6.54“ | |||||
| Angle of view
H – V – D |
91.4° / 71.0° / 102.6° | 82.8° / 63.0° / 94.0° | 73.0° / 54.4° / 84.0° | 65.2° / 47.8° / 75.8° | |||||
| Front diameter | 114 mm / 4.49“ | 114 mm / 4.49“ | 114 mm / 4.49“ | 114 mm / 4.49“ | |||||
| Maximum housing diameter | 115 mm / 4.53″ | 115 mm / 4.53″ | 115 mm / 4.53″ | 115 mm / 4.53″ | |||||
| Weight (lens only) | 2.0 kg / 4.4lb | 2.1 kg / 4.6lb | 1.9 kg / 4.2lb | 1.8 kg / 4.0lb |
| Name | ARRI
SIGNATURE PRIME 35/T1.8 |
ARRI
SIGNATURE PRIME 40/T1.8 |
ARRI
SIGNATURE PRIME 47/T1.8 |
ARRI
SIGNATURE PRIME 58/T1.8 |
|||||
| Release | 2018 | 2018 | 2018 | 2018 | |||||
| Lens Mount | LPL | LPL | LPL | LPL | |||||
| MOD from sensor plane (minimum marked distance) | 0.35 m / 14″ | 0.35 m / 14″ | 0.45 m / 18“ | 0.45 m / 18“ | |||||
| MOD from lens front | 0.13 m / 5.1″ | 0.13 m / 5.1“ | 0.23 m / 9.0“ | 0.23 m / 9.0“ | |||||
| Length from flange | 178 mm / 7.01“ | 178 mm / 7.01“ | 178 mm / 7.01“ | 178 mm / 7.01“ | |||||
| Magnification Ratio at MOD (Paraxial) | 1:5.4 | 1:4.8 | 1:6.3 | 1:5.3 | |||||
| Entrance pupil position (related to image plane, in direction to object) | 162.5 mm / 6.40“ | 159.8 mm / 6.29“ | 156.1 mm / 6.15“ | 145.4 mm / 5.72“ | |||||
| Angle of view H – V – D for LF Open Gate |
55.4° /40.2° / 65.2° | 49.2° / 35.4° / 58.2° | 42.6° / 30.4° / 50.8° | 34.8° / 24.8° / 41.8° | |||||
| Front diameter | 114 mm / 4.49“ | 114 mm / 4.49“ | 114 mm / 4.49“ | 114 mm / 4.49“ | |||||
| Maximum housing diameter | 115 mm / 4.53″ | 115 mm / 4.53″ | 115 mm / 4.53″ | 115 mm / 4.53″ | |||||
| Weight (lens only) | 1.7 kg / 3.7lb | 1.9 kg / 4.2lb | 1.8 kg / 4.0lb | 2.1 kg / 4.6lb |
| Name | ARRI
SIGNATURE PRIME 75/T1.8 |
ARRI
SIGNATURE PRIME 95/T1.8 |
ARRI
SIGNATURE PRIME 125/T1.8 |
ARRI
SIGNATURE PRIME 150/T2.5 |
|||||
| Release | 2018 | 2018 | 2018 | 2018 | |||||
| Lens Mount | LPL | LPL | LPL | LPL | |||||
| MOD from sensor plane (minimum marked distance) | 0.65 m / 26“ | 0.85 m / 3‘ 1“ | 1 m / 3‘ 4“ | 1.5 m / 5‘ | |||||
| MOD from lens front | 0.43 m / 16.9“ | 0.63 m / 2‘ 1“ | 0.78 m / 2‘ 7“ | 1.25 m / 4‘ 2“ | |||||
| Length from flange | 178 mm / 7.01“ | 178 mm / 7.01“ | 178 mm / 7.01“ | 208 mm / 8.19“ | |||||
| Magnification Ratio at MOD (Paraxial) | 1:7.2 | 1:7.9 | 1:7.0 | 1:9.0 | |||||
| Entrance pupil position (related to image plane, in direction to object) | 118.6 mm / 4.67“ | 86.6 mm / 3.41“ | 66.3 mm / 2.61“ | 145.4 mm / 5.72“ | |||||
| Angle of view H – V – D for LF Open Gate |
27.6° /19.4° / 33.2° | 21.8° / 15.2° / 26.4° | 16.6° / 11.6° / 20.2° | 13.8° / 9.8° / 16.8° | |||||
| Front diameter | 114 mm / 4.49“ | 114 mm / 4.49“ | 114 mm / 4.49“ | 114 mm / 4.49“ | |||||
| Maximum housing diameter | 115 mm / 4.53″ | 115 mm / 4.53″ | 115 mm / 4.53″ | 135 mm / 5.31“ | |||||
| Weight (lens only) | 1.9 kg / 4.2lb | 2.4 kg/5.3lb | 2.3 kg / 5.1lb | 3.5 kg/7.7lb |
| Name | ARRI
SIGNATURE PRIME 200/T2.5 |
ARRI
SIGNATURE PRIME 12/T1.8 |
ARRI
SIGNATURE PRIME 15/T1.8 |
ARRI
SIGNATURE PRIME 280/T2.8 |
|||||
| Release | 2018 | 2019 | 2019 | 2019 | |||||
| Lens Mount | LPL | LPL | LPL | LPL | |||||
| MOD from sensor plane (minimum marked distance) | 1.8 m / 6‘ | 0.35 m / 14“ | 0.35 m / 14“ | 2.5 m / 8‘ 2“ | |||||
| MOD from lens front | 1.54 m / 5‘ | tbd | tbd | tbd | |||||
| Length from flange | 218 mm / 8.58“ | tbd | tbd | tbd | |||||
| Magnification Ratio at MOD (Paraxial) | 1:8.3 | tbd | tbd | tbd | |||||
| Entrance pupil position (related to image plane, in direction to object) | 48.0 mm / 1.89“ | tbd | tbd | tbd | |||||
| Angle of view H – V – D for LF Open Gate |
10.4° / 7.2° / 12.6° | 113.6° / 93.6° / 123.5° | 101.5° / 80.8° / 112.3° | 7.5° / 5.2° / 9.1° | |||||
| Front diameter | 114 mm / 4.49“ | tbd | tbd | 134 mm / 5.28“ | |||||
| Maximum housing diameter | 135 mm / 5.31“ | tbd | tbd | tbd | |||||
| Weight (lens only) | 3.6 kg/7.9lb | tbd | tbd | 5.5 kg/12.1lb |
- 1x ALEXA LF camera body K1.0014861
- 1x SXR Adapter K2.0008429
- 1x SxS Adapter 2 K2.0006338
- 1x SD Card K2.72018.0
- 1x Electronic Viewfinder EVF-1 K2.72008.0
- 1x Viewfinder Mounting Bracket VMB-3 K2.74001.0
- 1x Viewfinder Cable Short (0.35m/1.2ft) KC 150-S K2.720125.0
- 1x Centre Camera Handle (CCH-1) K2.72007.0
- 1x PL-LPL Adapter K2.0016936
- 1x Wireless Video Receiver WVR-1 KK.0015010
