The camera accepts any input voltage from 11-34 V DC. Different power sources can be connected to the camera simultaneously. The camera's power management ensures that the power source with the highest voltage level is used. Power sources are hot-swappable to minimize the risk of sudden power loss. Switching power sources without the need to reboot saves valuable time during a shoot.
ALEV III sensor
The ALEV III sensor has a horizontal pixel count of 3.5K resulting in true 2K resolution. It covers the full Super-35 format and it provides a latitude of 14 stops at a base sensitivity of 800 ASA. The result is a superior image quality. The sensor temperature is kept stable by a Peltier element to ensure optimum image quality under all operating conditions.
AIT - ARRI Imaging Technology
ARRI imaging technology ensures the most organic, film-like image quality of any digital camera with natural color rendition and pleasing skin tones.
The camera electronics are fully sealed to protect them from dirt and moisture. Camera heat is transported via heat pipes to a radiator which is cooled by a fan. The fan itself is very silent, so the camera noise level is below 20 dB (A)* - this is the same as with ARRI sync-sound film cameras. If the fan noise level starts to increase due to fan aging, the fan can be swapped in a matter of minutes by a trained technician.
*at 24 fps and ambient temperature less than 25°C
EVF-1 electronic viewfinder
ARRI is redefining electronic viewfinders with LED lighting, high resolution and a viewing experience that comes as close to an optical viewfinder as possible.
ALEXA can internally record Quicktime movies with Apple ProRes codecs to Sony SxS (2) cards. The cards deliver high data rates and are very robust. ProRes can be natively edited in FinalCutPro, eliminating the need to transcode. ProRes 422 (HQ) and ProRes 4444 deliver visually lossless compressed images with a color depth of 10 bit for ProRes 422 and 12 bit for ProRes 4444*.
*ProRes 4444 is a lossy video compression format developed by Apple Inc. for use in post production that can handle standard definition, high definition, and 2K material. It was introduced with Final Cut Studio (2009) as another of intermediate codecs for editing material but not for final delivery. It shares many features with Apple's ProRes family of codecs but provides better quality than its predecessors, particularly in the area of color.
* 2K, HD (up to 1920x1080), & SD resolutions
* 4:4:4 chroma sampling
* up to 12-bit pixel depth
* Variable Bit Rate (VBR)
* Alpha Channel Support
Image Capture and Quality
Base sensitivity of EI 800 (at 180 degree shutter angle)
EI adjustable from 160 to 1600
Greater Than 13 stops of dynamic range from EI 160 to 1600
Variable electronic shutter angle 5.0 degrees to 358.0 degrees
D-21 color management
Direct To Edit (DTE)
Rec 709 video or Log C (no matrix) outputs
HD-SDI 4:2:2 @ 23.976, 24, 25, 29.97, 30, 50, 59.94 and 60fps
HD-SDI 4:4:4 @ 23.976, 24, 25, 29.97 and 30 fps
ARRIRAW T-link @ 23.976, 24, 25, 29.97 and 30 fps (subject to third party recorder and post production toolset availability)
DTE includes the following features:
QuickTime/ProRes DTE recording onto SxS PRO cards