ARRI ALEXA SXT Plus Camera Body and SXT-W Upgrade Kit

Purchase this ARRI ALEXA SXT Plus Camera Body and SXT-W Upgrade Kit to obtain a FREE upgrade to add wireless functionality for your new SXT camera when you purchase these items during the promotion timeframe. See our Special Offer for full details.

This kit includes:

• ARRI ALEXA SXT Plus Camera Body
• ARRI Dual Wireless Video Receiver WVR-1
• FREE Upgrade to SXT W (Wireless) camera functionality
• 0% Financing (optional, see your AbelCine Salesperson for more details)

IMPORTANT NOTE: Includes the ALEXA SXT Plus camera body ONLY. A set is available with additional accessories.

ARRI ALEXA SXT Plus Camera

The ARRI ALEXA SXT Plus Camera set provides the camera body, EVF, and accessories in the ALEXA SXT EV, plus more internal features, such as  built-in wireless remote control of lens motors and camera, tilt/roll sensors, electronic horizon, along with added connectors for remote control, video output and accessory power.

The ALEXA SXT Plus camera retains 14+ high dynamic range, 16-bit processing, and sharp, natural images for HD, 2K, UHD, and 4K Cine deliverables. This feature-packed camera has one of the largest groupings of recording format options on the market. All sensor modes can be recorded in ARRIRAW or ProRes. Its unique, tall sensor is ideal for capturing anamorphic. The ARRI Color Tool improves your in-camera grading while the natural color reproduction of the image processor delivers realistic skin tones.

Features:

• Built-in Remote Control Ability
  • Real-time wired or wireless remote control of lens motors and select camera functions
  • Plug and play with ARRI Electronic Control System (ECS)
  • Compatible with cmotion cvolution lens control systems
• Additional Outputs
  • Additional clone of MON OUT 1 (1.5G HD-SDI)
  • A third RS accessory power out
• Built-in Tilt and Roll Sensors
  • for electronic horizon in viewfinder and metadata
  • Stored in metadata
• 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

ARRI ALEXA SXT PLUS CAMERA

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. In a pre-NAB 2017 move, ARRI added a wireless camera option: ALEXA SXT W camera model ("W" for wireless).

Built-In Remote Control Features

With its built-in radio and lens motor electronics, the ALEXA SXT Plus makes working on set faster and more efficient. Plug the ARRI lens motors directly into the camera, turn on the wireless hand unit (similar to the WCU-4) and off you go. Integrating the wireless and lens control infrastructure into the camera not only saves time, but also weight, as a setup with an ALEXA SXT EV and an external motor control box would be more cumbersome to cable and heavier. Compatibility with the ARRI hand units, like the WCU-4, as well as with the cmotion hand units makes this a flexible tool. 

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.

Recording

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 1.4.0.1 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). 

Upgrades

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).

Rugged Hardware 

ALEXA cameras are part of a long heritage of cameras from ARRI. This manufacturer states they are very familiar with the sometimes horrid conditions their cameras must endure in the field. ALEXAs are built rugged and reliable with a sealed electronics compartment, a unique cooling system, plus the most stable lens/sensor mount that German engineering could devise.

The camera's electronics are housed in a sealed compartment in the center of the body. The heat generated is transported via heat pipes to a radiator located in a ventilation shaft at the back of the camera. A single, silent and slow running silent fan cools the radiator. This system ensures effective, active cooling of the sensor and processing boards even in the hottest climates. At the same time it protects the electronics, thereby rendering the camera splash and dust proof.

To further improve the legendary stability of the ARRI lens mount, ALEXA's stainless steel lens mount is attached to a stainless steel distance barrel, which itself is attached to the sensor mount. The whole unit is then attached to the camera body. By creating a fixed link between lens and sensor (all the orange parts in the second drawing), a super stable flange focal depth is ensured - even if strong mechanical influences are applied to the lens mount, such as when a heavy zoom lens is not properly supported. Using stainless steel ensures minimum material expansion or contraction during temperature changes.

ARRI Dual Wireless Video Receiver WVR-1 Set

The ARRI Dual Wireless Video Receiver WVR-1 Set includes the following items:

Two standalone Wireless Video Receivers (WVR-1) receive the signal from the integrated video transmitter of the ALEXA SXT W (sold separately) or the standalone WVT-1 Wireless Video Transmitter (not included). Up to four Receivers can be paired with one Transmitter.

Depending on atmospheric conditions and line of sight, the WVR-1 can receive a signal from as far as 2,000' (600m) from the transmitter. The minimum distance for all units is at least 3' (1m). The ARRI Wireless Video System can be used to transmit and monitor HDR images, as it transmits a 10 bit signal. The HD wireless video transmission includes 2 Channel embedded audio, timecode, and the HD-SDI REC flag. 

The system automatically and continually scans the airwaves and selects frequency channels with low interference levels. This is called DFS (Dynamic Frequency Selection). In DFS, all channels are continuously monitored and ranked for immediate use by the WVS. In case of interference on any channel, the system immediately hops to a better channel without losing even a single pixel of video. Due to legal restrictions, manual frequency selection is not available. 

The housing is spray (water) resistant and dustproof aluminum with integrated collars for antenna and BNC connectors, and offers several mounting options. The WVR-1 also has a wide operating temperature range, from -4°F to 113°F (-20°C to 45°C).

NOTE: SXR Capture Drives, XR Capture Drives, SxS Adapter 2, CFast 2.0 Adapter 2, docks, SxS PRO cards, SxS PRO+ cards, CFast 2.0 cards, FSND filters and on-board battery adapters are not included and can be ordered separately.