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Abel Code: AR-K1.0006178
Mfr. Code: K1.0006178
Estimated to Ship – Contact Sales for Availability
Special Order Only
This is a special order item. You will be charged upon placing your order, which is non-cancelable and non-returnable.
The ARRI ALEXA SXT (Super Xtended Technology) cameras represent the next exciting step in the continuing evolution of the ALEXA family. Captures in 4K UHD, 2K, HD, and 4K Cine with high dynamic range. Capture in ARRIRAW or ProRes. Suitable for Anamorphic.
Key Highlights
  • In-camera ProRes 4K
  • Versatile & efficient workflows
  • Grading tools match ALEXA Mini & AMIRA


The ARRI ALEXA SXT Camera retains the sensor and and user interface of the original ALEXA design yet the capabilities of ALEXA SXT cameras have been greatly extended. Equipped with the powerful electronics and sophisticated image processing of the ALEXA 65, SXT cameras can manage more recording formats and handle more processor-intensive tasks such as calculating looks with 3D LUTs or color space conversions to Rec 2020, all in real time. Building on work done originally for the ALEXA Mini and AMIRA, the new ARRI look management and optional noise reduction help creative filmmakers convey their ideas. And last but not least, the new media bay can accept a wide range of media, as well as the new, high-performance SXR Capture Drives. 

This is the Camera Body only. Sets are sold separately.

Ever since its launch, the ALEXA system's fundamental advantage has been its unique combination of the highest overall image quality with the most efficient workflows on set and in post. Based on extensive market feedback, the ALEXA SXT line of cameras further improves upon those qualities, raising the widely-accepted gold standard set by ALEXA still higher.

The full range of ALEXA SXT cameras is comprised of the ALEXA SXT EV, SXT Plus and SXT Studio models, replacing current ALEXA XT cameras except the ALEXA Classic EV model which remains in the line-up. It maintains a well-balanced and ergonomic body design with intuitive controls (the same ALEXA interface on all models), plus on-camera and EVF-1 controls. In a pre-NAB 2017 move, ARRI added a wireless camera option: ALEXA SXT W camera model ("W" for wireless). 


  • Easy in-camera ProRes 4K recording
    • ProRes 4K UHD (3840 x 2160)
    • ProRes 4K Cine (4096 x 2637)
  • Improved image quality
    • Completely overhauled image processing chain
    • Advanced pixel correction
    • Optional noise reduction
  • New Looks and smoother workflow
    • 3D Look-up Tables, ASC Color Decision List, Rec 2020 gamma
    • Matches current ALEXA images, but provides basis for radically different looks
    • Improved on-set preview, more efficient dailies and faster final grading
    • Same tools for ALEXA SXT, ALEXA Mini & AMIRA
  • Super flexible on-set monitoring
    • Three fully independent HD-SDI outputs

Better Image Quality & Increased Frame Rates

A completely overhauled image processing path provides additional improvements to the ALEXA best overall image quality. Developed in-house, the ARRI Noise Reduction (ANR) is a mild noise reduction that avoids the artefacts of most other such attempts. An advanced defect pixel correction will provide cleaner images. Projects which are time-sensitive can now create burned-in looks with the full power of 3D Look Up Tables (LUTs). 

Most 16:9 ProRes recording formats benefit from the increase in in-camera processing speed through faster maximum frame rates. Other formats get a boost in maximum fps when used with the new SXR capture Drives. Check out the list of frame rates in ARRI's handy graphic.

In addition, switching between normal and high speed mode is a thing of the past with ALEXA SXT cameras, as all frame rates can be chosen directly in one single speed mode.

High Dynamic Range

The ALEXA sensor provides high dynamic range images through an unequalled exposure latitude with special consideration given to highlight treatment. ALEXA's wide exposure latitude translates into a 'thick' digital negative; there is more detail information in the highlights and in the dark areas than any of the current display technologies can show.

With 14+ stops of dynamic range, low noise, and 16-bit in-camera processing the ALEXA SXT imagery holds up well even when over or underexposed.

The camera also features sensitivity ranging from EI 160 to EI 3200.


ALEXA SXT offers a total of 14 in-camera recording formats, seven of which are new. All sensor modes can now be recorded in ARRIRAW or ProRes. Whatever the budget, intended market, resolution requirements, aspect ratio, lens choices or postproduction plans, there is an ideal ALEXA SXT recording format to ensure easy operation on set and a seamless image pipeline.

16:9 ProRes 4K UHD - The easiest and fastest path to the best 4K UHD image, offering the immediacy and speed of ProRes in the UHD distribution standard of 3840 x 2160 pixels. 

Open Gate ProRes 4K Cine - A format unique to SXT cameras; it not only provides the cine standard of 4096 pixels across, but allows for VFX markers or up/down repositioning in post through the extra height of 2636 pixels. 

6:5 ProRes 2K Anamorphic - The most economical path to the best overall 2K image quality with anamorphic lenses. The camera creates a ready-to-view ProRes file in the 2K DCI delivery format (2048 x 858), so no debayering, cropping, rescaling or de-squeezing is needed in post. 

6:5 ProRes 4K Anamorphic - The most economical path to the best overall 4K image quality with anamorphic lenses. The camera creates a ready-to-view ProRes file in the 4K DCI delivery format (4096 x 1716), so no debayering, cropping, rescaling or de-squeezing is needed in post. 

4:3 ProRes 2.8K - Popular for spherical 16:9 or 1.85:1 shows, this format provides extra height for VFX tracking markers and repositioning in post. It has the immediacy and speed of ProRes, plus a lower data rate than Open Gate and works with smaller image circle than Open Gate. 

Open Gate ProRes 3.4K - Designed for those who want the maximum image area and pixel count from a Super 35 ALEXA (3424 x 2202) in combination with the immediacy and speed of ProRes. 

16:9 ARRIRAW 3.2K* - The largest number of pixels that can be processed at 120 fps (3168 x 1782). Use the full image area with ARRI Super 35 PL mount lenses, or gain extra room for repositioning, stabilizing and tracking when using lenses with an image circle covering a 2.8K image area. 

Also, in ALEXA SXT, ProRes files are always recorded in RAID 1 to Capture Drives, which provides extra security through data redundancy. 

For productions requiring uncompromised image quality, ARRIRAW is the best digital recording option. Unlike other camera formats, ARRIRAW delivers raw, uncompressed, unencrypted image data, providing the absolute best image quality from ALEXA. Image processing steps like debayering, white balance, sensitivity or downscaling, which are irreversibly baked into the image for a ProRes or HD-SDI, are not applied to ARRIRAW. For VFX it is important to record uncompressed raw, because compression artifacts make compositing more difficult. The other plus with ARRIRAW is that it is a future-proof archiving format.

* NOTE: The 3.2K recording formats require an illumination circle of 29.95 mm and the Open Gate formats require an illumination circle of 33.50 mm from the taking lens. While most ARRI Super 35 lenses cover 3.2K, some wide angle lenses will not cover the full Open Gate. ARRI provided a helpful Lens Illumination Guide resource on their site to determine which lens covers which sensor mode and target aspect ratio.

IMPORTANT NOTE: Verify current recording media compatibility with ARRI's Supported Recording Media Overview.


Sensor & True Anamorphic

Anamorphic cinematography produces a widescreen look that has long been appreciated by filmmakers and audiences worldwide. The unique tall sensor of ALEXA cameras maximizes resolution when using anamorphic lenses and ensures the distinct optical qualities of those lenses are rendered faithfully in the digital image. Since ALEXA's sensor has almost exactly the same dimensions as a 35 mm film image, anamorphic lenses maintain their field of view. With the new sensor modes (6:5 and 8:9) and the option to record and monitor squeezed or de-squeezed images, the ALEXA SXT system presents an excellent solution for anamorphic productions.

6:5 Sensor Mode - For the most efficient recording and post-processing of anamorphic images, the 6:5 sensor mode has been introduced. Dividing the CinemaScope aspect ratio of 2.39:1 by the lens' horizontal squeeze factor of two results in a 1.195:1 image area, which can also be expressed as 6:5. The 6:5 sensor mode captures only the image area needed by anamorphic lenses for a 2.39:1 deliverable. In contrast to the old 4:3, this allows higher frame rates, avoids loss of resolution in ProRes recordings and results in fewer post-processing steps for ProRes and ARRIRAW. 

8:9 Sensor Mode - For productions intended for 16:9 HD or UHD TV distribution, the 8:9 sensor mode is the best option when shooting with anamorphic lenses (from ALEXA SXT Software Update Package 3.0). 

ARRI Color Tool & Look Files

ARRI's improvement of color grading and look files lets you retain your look from prep to post.

ARRI created a free utility called the ARRI Color Tool or the ACT which works with ALEXA Mini, ALEXA SXT, and AMIRA cameras. Use the ARRI Color Tool to create a new look or modify and existing look based on Log C QuickTime ProRes clips or Log C .dpx grabs from any ARRI camera. If you use third-party post processing tools which do not support ALF-2, the ACT provides the option to export ALF-2 looks as 3D LUTs instead. The ARRI Color Tool is available for Mac OS X 10.8 Mountain Lion, 10.9 Mavericks/10.10 Yosemite and 10.11 El Capitan and Windows x64 (beta).

The version ACT provides a new wide gamut color space for ALEXA SXT cameras (REC 2020, P3 DCI, P3 D65, P3 D60).

With all look information stored in the metadata of recorded files, this new system enables live grading on set, as well as automated dailies and editing with looks. Early and wide adoption of the system by third parties ensures that the desired look is maintained throughout a smooth workflow, no matter what your preferred grading, dailies or editing tools. 

Live Grading on Set - ALEXA SXT cameras can replace a LUT box on set. Live grading to fine-tune the cinematographer's look on set is already supported by Pomfort LiveGrade, Codex Live, Colorfront On-Set Live, Filmlight Prelight, and Technicolor DP Lights, with others on their way.

Automated Dailies - The ALF-2 look file is always stored in metadata, so dailies and editing proxies that show the same look as was seen on set can be generated automatically and fast. This is supported by DaVinci Resolve, Colorfront OSD, Codex Production Suite, Pomfort Silverstack, and Filmlight Daylight, with others in progress.

Editing with Looks - Non-linear editing programs such as Avid Media Composer, Apple Final Cut Pro X and Adobe Premiere Pro can apply looks from metadata automatically, allowing the editor to see the same look as was seen on set and in dailies. 

Want to know more? ARRI created an ALEXA SXT Look Management White Paper.

Monitor on Set WYSIWYG

While images recorded with ALEXA have been High Dynamic Range (HDR) since 2010, ALEXA SXT can be used with the latest HDR monitors to allow monitoring of HDR images on set. This is ensure your creative intent of a scene is appropriately represented on both SDR and HDR displays, without the audience’s attention being distracted when bright elements or strong colors within the frame become too prominent in HDR. 

Monitoring is possible with the ALEXA SXT in standard or High Dynamic Range (HDR), as well as Rec 709 or Rec 2020. Rich metadata is recorded into every format and the new ARRI look management maintains, protects and shares the cinematographer's look on set, in dailies creation and in editing.

Four independent monitoring outputs (EVF-1 and three MON OUTs) cater to the needs of different crew members. Each output has completely independent settings such as image processing, surround view, status info, peaking and false color. Be sure to review the graphic representing how four independent monitoring outputs might be used on set.

The color range captured by ALEXA (ALEXA Wide Gamut) far exceeds the ability of current displays. ALEXA SXT can provide an independent display color space for each MON OUT, either the HD standard of Rec 709 or the new UHD standard of Rec 2020. 

You can also capture better frame grabs in all sensor modes. The frame grabs include the image area of the recording format without any frame lines, status info, peaking or false color superimposed. The source of the frame grab can be freely assigned: either as a .jpeg, .tif or .dpx from one of the three monitor outputs (MON OUT 1, 2 or 3) or as a .ari from a step earlier in the processing chain where the image is available in ARRIRAW in the full resolution of the recording format. 

Media Bay Drive Update

ALEXA SXT cameras can accept a wide range of media, including the new, high-performance SXR Capture Drives, with the use of an adapter. The faster processing capabilities allows faster frame rates for most recording formats than were possible with ALEXA XT cameras, and the addition of RAID technology brings additional safety through Redundant recording to XR and SXR Capture Drives. 

It now accepts:

  • XR and SXR Capture Drives
  • SxS PRO and SxS PRO+ cards
  • CFast 2.0 cards

The new SXR Capture Drives represent the next generation of professional solid-state media for ALEXA SXT and ALEXA 65 cameras. Sophisticated selection of memory, careful manufacturing processes and a modern, robust housing design make these the most reliable media on the market. Their lightning-fast maximum write speed of 20 Gb/s allows for higher maximum frame rates with some recording formats, while the 1 TB (red collar) or 2 TB (blue collar) capacity permits longer recording times. The new drives are accompanied by a new SXR Capture Drive Dock (TB). 


Storage Interface Module - can be exchanged for future storage modules. The Electronics Interface Module (available as either regular ALEXA or ALEXA Plus versions) can be exchanged for future control electronics.

Lens Mount - an easily exchangeable lens mount allows other lenses beyond LDS PL mount lenses to be used. Simple camera software updates via free of charge Software Update Packets (SUPs).

Camera Software Updates - Simple camera software updates via free of charge Software Update Packets (SUPs).



Key Highlights

  • In-camera ProRes 4K
  • Versatile & efficient workflows
  • Grading tools match ALEXA Mini & AMIRA
  • 6:5 & 8:9 Anamorphic Modes
  • ARRI Color Tool & Look Files

Camera Lens System

Camera Lens Mount:
PL - 54 mm stainless steel LDS
ND Filter:
Yes - Also, includes a built-in Internal Filter Module (IFM-1) filter holder that accepts one of eight Full Spectrum Neutral Density (FSND) filters through manual insertion/removal.


Gamma Modes:
Log C
Color Gamut:
REC 2020
REC 709
ALEXA Wide Gamut


Input Connector/Port:
1 x HD-SDI - BNC return video in HD-SDI, 1.5G RET/SYNC IN
1 x XLR 5-pin - analog audio in AUDIO IN
1 x 16-pin - LEMO 16-pin external accessory interface EXT
1 x Fisher 2-pin - 24 V power in BAT
2 x Fisher 3-pin - 24 V remote start and accessory power out RS
1 x 3.5mm stereo mini jack - TRS
1 x LEMO 2-pin - 12 V accessory power out 12 V
1 x BNC - monitoring out HD-SDI, 1.5G MON OUT
LEMO 5-pin - timecode in/out TC
Other - custom LEMO 10-pin Ethernet with 24 V power ETHERNET

Inputs & Outputs

Audio I/O:
1 x Audio Input - XLR 5 pin AUDIO IN for 2 channel, line level, balanced audio. 24 bit/48 kHz A/D conversion.


Power Input:
Battery Pack - BAT connector, optional battery adapter back or optional battery adapter top. All inputs accept 10.5 to 34 V DC.


Yes - available over headphone jack and embedded in the MON OUT signal.


Recording Format:
Apple ProRes 4K UHD - 3200 x 1800 up sampled to 3840 x 2160 in Sensor Mode 16:9
Apple ProRes 4K Anamorphic - 2560 x 2146 re-sampled to 4096 x 1716 in Sensor Mode 6:5
Apple ProRes 2.8K - 2880 x 2160 in Sensor Mode 4:3
Apple ProRes 3.4K - 3424 x 2202 in Sensor Mode Open Gate
Apple ProRes 4K Cine - 3414 x 2198 up sampled to 4096 x 2636 in Sensor Mode Open Gate
Apple ProRes HD - 2880 x 1620 down sampled to 1920 x 1080 in Sensor Mode 16:9
Apple ProRes 2K - Anamorphic : 2560 x 2146 down sampled to 2048 x 858 in Sensor Mode 6:5
Apple ProRes 3.2K - 3200 x 1800 in Sensor Mode 16:9
ARRIRAW - 3.4K : 3424 x 2202 in Sensor Mode Open Gate
Playback Frame Rate Notes:
Playback audio available over headphone jack and embedded in the MON OUT signal.
Playback of ARRIRAW or ProRes recorded material visible on EVF-1 and MON OUT.

Recording / Media

Media Type:
SxS - PRO+ 64 GB (SBP-64B & SBP-64C)
CFast 2.0 - ARRI lists this type: LEXAR 3600x CFast 2.0 cards 256 GB
Capture Drive - XR Capture Drives 512 GB

Sensor Specifics

Sensor Size:
Full Frame 35mm
Sensor Type:
Sensor Dynamic Range:
14+ stops - for all sensitivity settings from EI 160 to EI 3200, as measured with the ARRI Dynamic Range Test Chart (DRTC)
Low Pass Filter:
Optical low pass

Software / Apps / Plugins

Software/App Notes:
ARRI Color Tool
ARRI Meta Extract
ARRIRAW Converter (ARC)


EVF Features:
False Color Mode
Alternate Left/Right Usage
Mounting Bracket - The VMB-3 allows movement of viewfinder forward/backwards, left/right, up/down, 360-degree rotation, plus left/right placement.
EVF Imagery:
EVF Accessory:
Viewfinder Mounting Bracket - Included


Media Cards:
CFast Cards (2.0) - (requires CFast 2.0 Adapter 2)
XR Capture Drive - (requires XR Adapter) NOTE: XR Capture Drive Docks require Codex Production Suite to read XR Capture Drives recorded with ALEXA SXT.
SXR Capture Drive - (requires SXR Adapter)
SxS Cards - SxS PRO or SxS PRO+ cards (requires SxS Adapter 2)
Camera Weight (Body):
Camera Options:
Camera Body Only
Camera Features:
On-Camera Controls - Camera Right: Main user interface with a 3” transflective 400 x 240 pixel LCD color screen, illuminated buttons, button lock and jog wheel.
Remote Control (WiFi) - OPTIONAL accessory Wireless Compact Unit WCU-4 for wireless remote control (UMC 3A or UMC-4 required).
Remote Control (Web-based)
White Balance - Presets for 3200 (tungsten), 4300 (fluorescent), 5600 (daylight) and 7000 (daylight cool). Automatic calculation or manual white balance for 2000 to 11000 Kelvin, adjustable in 100 K steps
Custom Functions - PHASE user button for shifting camera phase to move phase artifacts out of frame, i.e. when shooting a CRT monitor or rear screen projector (works in Rec Run TC mode).
Imaging Processor:
ARRI ALEV III - with Bayer pattern color filter array
Ethernet Interface:
Camera acts as a web server - Displays the ALEXA Web Remote on web browsers of computers connected to ETHERNET connector.
Use OPTIONAL accessory Remote Control Unit RCU-4 - for cabled remote control via camera ETHERNET connector
Master/Slave Operation:
Mode Exists - for precision sync of settings, sensor, processing, HD-SDI outputs and ARRIRAW or ProRes recording for 3D applications
Shutter Angle Settings:
5.0º - 358.0º up to 60 fps; 5.0° to 356° above 60 fps - Shutter angle adjustable with 1/10 degree precision
Image Capture Notes:
16:9 Frame Rate - 0.75 - 120 fps
4:3 Frame Rate - 0.75 - 96 fps
6:5 Frame Rate - 0.75 - 96 fps
ARRI Look File (ALF-2) containing the name of the target color space, CDL values and a 3D LUT - can be applied to ProRes or MON OUT images and will be saved in metadata. Optional horizontal image mirroring.
Open Gate Frame Rate - 0.75 - 90 fps
Shutter/Camera Mode:
Open Gate
Shutter Type:
Electronic rolling shutter


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