ARRI unveils large-format Alexa LF camera system

The Alexa LF camera package comprises the Alexa LF camera, ARRI Signature Prime lenses, LPL lens mount, and PL-to-LPL adapter, empowering cinematographers to create engaging images

ARRI has unveiled a complete camera system that is based on a large-format 4K/Ultra HD (UHD) version of the Alexa sensor. The new camera package comprises the Alexa LF camera, ARRI Signature Prime lenses, LPL lens mount, and PL-to-LPL adapter.

Equipped with native 4K/UHD recording capability, the Alexa LF camera, ARRI said, enables filmmakers to explore a large-format aesthetic while retaining the sensor’s natural colourimetry, “pleasing skin tones” and suitability for high dynamic range (HDR) and wide colour gamut (WCG) workflows.

Marc Shipman-Mueller, product manager for camera systems, ARRI, explained: “The larger Alexa LF sensor has the same optimal pixel size as other Alexas, resulting in a 4448×3096 image. This doesn’t just add definition, it creates a whole new look — one that is truly immersive, with a three-dimensional feel.”

Accompanying the Alexa LF camera are 16 large-format ARRI Signature Prime lenses, ranging from 12mm-280mm and fitted with the ARRI LPL mount. Besides the ability to exemplify optical precision, the Signature Prime lenses is able to render “organic, emotionally engaging” images while “softening and texturising” the large format, said ARRI.

Thorsten Meywald, product manager for optical systems, ARRI, added: “ [The Signature Prime lenses] also feature LDS-2, ARRI’s next-generation Lens Data System. What has impressed cinematographers most, however, is the look. Skin tones are rendered beautifully and kindly, while all the detail of landscapes can be captured.”

Completing the new camera system are the LPL lens mount, which feature a wider diameter and shorter flange focal depth, and the PL-to-LPL adapter, which offers backwards compatibility with all PL mount lenses. The adapter can be attached to the LPL lens mount without tools, allowing crews to rapidly switch between PL and LPL lenses on set.
Stephen Schenk, managing director of ARRI Cine Technik, concluded: “Providing compatibility with existing lenses, camera accessories, workflows, ARRI Look Files, lens metadata and software tools makes it easier for crews to work with Alexa LF on set, and for rental houses to incorporate it into their inventories.

“We think the system sets a new standard for the future, but it also minimises redundancies and leaves no one behind.”


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