ARRI ALEXA LF Large Format (True) 4K Camera & ARRI Signature Primes Announced

February 2nd, 2018
ARRI ALEXA LF Large Format (True) 4K Camera & ARRI Signature Primes Announced

ARRI has used BSC Expo in London to announce their venture into true 4K acquisition. The ALEXA LF is a new large-format system with new LPL lens mount.

It’s been some time coming, but finally ARRI has “ true 4K” (not up scaled from 3.4K) camera in its arsenal.

Whilst this article ducks under the lifting embargo barrier, I’m headed to BSC to get an interview with ARRI, so we’ll have a bit more hands-on info imminently.

ARRI LF with 4.5K Resolution

The ALEXA LF resolves a 4448 X 3096 image, like previous ARRI camera systems it will record to a selection of Apple ProRes flavours and unencrypted ARRIRAW, but up to 150fps (50fps slower than the likes of the Alexa Mini).

“Featuring a sensor slightly bigger than full frame, ALEXA LF records native 4K with ARRI’s best overall image quality. Filmmakers can explore a large-format aesthetic while retaining the sensor’s natural colorimetry, pleasing skin tones and proven suitability for HDR and WCG workflows.”

One of the main talking points will be the brand new lens mount – LPL. ARRI have implemented this to supposedly offer full frame lenses in a smaller and lightweight form factor, due to the wider diameter and shorter flange distance.

Not to worry however, the lens mounts is backwards compatible to PL. You’ll be able to purchase a LPL to PL adaptor that will accept all PL lenses including puny super35mm (there will likely be some sort of image crop applied).

New ALEXA LF sensor

ARRI Signature Prime Lenses

Alongside the new ARRI LF is a new set of full frame lenses. 16 of them ranging from 12 to 280mm at a tasty T1.8.

4 will be initially announced (35mm, 47mm, 75mm and 125mm) and will ship early June 2018. The camera itself should ship end of March.

If you’ve chatted to ARRI at any recent-ish trade shows and read between the lines – this camera has been on the horizon for a while.

It surpasses the requests for simply a “true 4K camera” from on-demand TV companies – it’s a fairly heavyweight package with its large format sensor. It will be interesting to see if any other “smaller models” trickle out later in the year in the super35mm format. Also, it will be interesting to see how it stacks up against the RED Weapon with a Monstro 8K VV sensor and the new Sony VENICE, the two first full-frame professional cameras.

A new LPL to PL adaptor

Basic pricing starts at €76,608 and if you think it’s expensive, it’s probably not aimed at you…

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Kurt ChapmanThomas KuerzlJamie LeJeuneFunky Punky Monkey Junk Recent comment authors
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Samuel Bagula
Samuel Bagula
GuestFebruary 2nd, 2018

Machine

 Funky Punky Monkey Junk
Funky Punky Monkey Junk
MemberFebruary 6th, 2018

Brilliant observation. Tell us more.

Jayson Packett
Jayson Packett
GuestFebruary 2nd, 2018

Yum yum yum.

Scott Tracy
Scott Tracy
GuestFebruary 2nd, 2018

Dream on Jayson Packett

Brent Spence
Brent Spence
GuestFebruary 2nd, 2018

Finally.

Gene Nemetz
Gene Nemetz
GuestFebruary 2nd, 2018

It was important?

Christopher Grant Harvey
Christopher Grant Harvey
GuestFebruary 2nd, 2018

Nah, high resolution acquisition in a time of 4K,6K,8K and beyond HDR distribution is not really important. ??‍♂️

 Funky Punky Monkey Junk
Funky Punky Monkey Junk
MemberFebruary 6th, 2018

Not really. They still don’t have a proper “normal” cinema camera with 4K or higher.

This requires special lenses.

 Matt Drummond
Matt Drummond
MemberFebruary 2nd, 2018

Shooting YouTube travel log style videos suddenly has ARRI pitting Itself against Panasonic and Sony.
76,608.37 euro? put me down for 30 x GH5’s shooting 6k animorphic at 10bit 4:22 and an A7sII.
All 31 cameras will pass tech check for theatrical release.

 Adam Smyth
Adam Smyth
MemberFebruary 4th, 2018

I can’t tell if this is trolling or not…

 Thomas Kuerzl
Thomas Kuerzl
MemberFebruary 5th, 2018

Well boys play with toys……. seems not to be your league man, sorry

John Considine
John Considine
GuestFebruary 2nd, 2018

I thought the red monstro was the first full frame cinema camera. Followed by Venice

Luigi Pica
Luigi Pica
GuestFebruary 2nd, 2018

Carolina Paoletti regalo per ottobre 2018??

Carolina Paoletti
Carolina Paoletti
GuestFebruary 2nd, 2018

Se fo du soldi nel mentre molto volentieri

 Funky Punky Monkey Junk
Funky Punky Monkey Junk
MemberFebruary 6th, 2018

Wrong language.

Jeremy Woods
Jeremy Woods
GuestFebruary 2nd, 2018

I love how Arri always counter announces the “Anti-Red” camera, lol. Resolution, Schmezolution.. ?

Chris Reynolds
Chris Reynolds
GuestFebruary 2nd, 2018

£100K for the fully decked out version!! Better get some good clients to make that work, but still Arri colour science is the best of all the digital cameras (IMHO). This will at least allow you to shoot shows for Netflix (unlike the Amira or the Alexa or Alexa mini.

 Klapp Katze
Klapp Katze
MemberFebruary 2nd, 2018

Nice gasoline fire they have at the end of the video!

Ben Saunders
Ben Saunders
GuestFebruary 3rd, 2018

Andi Hampton Dave Dutty Kennedy next purchase?

Andi Hampton
Andi Hampton
GuestFebruary 3rd, 2018

Had a play with this yesterday. ?

 Funky Punky Monkey Junk
Funky Punky Monkey Junk
MemberFebruary 6th, 2018

Who? What?

Why do we care?

Mark Limey
Mark Limey
GuestFebruary 3rd, 2018

Looked at this bad boy yesterday !

Jan-Emil Jansson
Jan-Emil Jansson
GuestFebruary 3rd, 2018

If they put antennas on the sides they can get in some more

 Funky Punky Monkey Junk
Funky Punky Monkey Junk
MemberFebruary 6th, 2018

So…. Arri couldn’t figure out how to get 4K or higher resolution from a 35mm-sized chip? So to get 4K, Arri users have to go out and get exorbitantly-priced special lenses and deal with an extra-shallow and fussy DOF?

Whoop dee doo.

Jamie LeJeune
Jamie LeJeune
MemberFebruary 7th, 2018

Arri could have made a s35 4K chip, sure, but that comes with inherent compromises to color, noise and dynamic range that they were unwilling to make. Take a look at films that have been nominated for cinematography Oscars in the last 5 years. It’s virtually all either film or Alexa, despite the existence of high K Red and Sony cams. So, either all of those DP’s and directors are making a mistake, or they are paying attention to something more important that K count. I’m pretty sure it’s the latter. Arri has consistently engineered better pixels over simply choosing more pixels. To deliver more pixels and maintain quality, they had to maintain the size of each photosite as they raised the K count, hence the larger sensor.

 Thomas Kuerzl
Thomas Kuerzl
MemberFebruary 7th, 2018

Thank you

 Kurt Chapman
Kurt Chapman
MemberMarch 22nd, 2018

But they didn’t make a 4K S35 sensor, did they? They took two of their existing sensors and glued them together to create a full format sensor that no one was asking for. There is no new sensor technology in the ARRI ALEXA LF, if you need proof (carefully) shine a flashlight at the sensor and you’ll see the joining seam all the way down the middle. That doesn’t inherently make it a bad camera but I think you are stretching the truth to say that ARRI could have made a 4K S35 sensor chip.

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