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ARRI ALEXA SXT Studio Basic Camera Set

Abel Code: AR-K1.0006987
Mfr. Code: K1.0006987
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.
ARRI's ALEXA SXT (Super Xtended Technology) camera feature a quiet, rotating mirror shutter with adjustable angle, an optical viewfinder with real-time, high-contrast images. You can capture 16:9 ProRes 4K UHD, Open Gate ProRes 4K Cine, & 2K Anamorphic.
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ARRI's ALEXA SXT (Super Xtended Technology) cameras represent the next exciting step in the continuing evolution of the ALEXA family.

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.


  • 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

Future Proof Images for 4K, HDR, WCG, & HFR

ALEXA offers the great overall image quality with their SXT cameras. For content producers who are increasingly concerned about compatibility with next-generation standards for deliverables and displays, there is no better choice than the ALEXA SXT. By striking a  balance between pixel size and resolution, ALEXA SXT is able to produce beautiful images in HD, 2K, 4K UHD or 4K Cine, while also delivering the highest dynamic range of any camera on the market (at time of release), with 16-bit in-camera processing.

It is therefore  suited to the creation of content for emerging HDR (High Dynamic Range) display technologies. Since ALEXA SXT records a WCG (Wide Color Gamut) signal larger than any current displays can show, its images are ready for new color space standards like Rec 2020. In addition, the ability to record at up to 120 fps in full image quality means that HFR (High Frame Rate) approaches to enhancing viewer experience can also be easily accommodated

(14) In-Camera Recording Formats

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

Here are the highlights:

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 Cine 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 (marked with red dotted rectangle below), 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.

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 Lens Illumination Guide to help you determine which lens covers which sensor mode and target aspect ratio.

Suited to 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 that 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 the perfect 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).

Retain the Look from Prep to Post

ALEXA SXT incorporates a completely new look management architecture, offering total control of looks from preproduction through post in order to protect and share the cinematographer's creative intentions. ARRI offers a FREE Color Utility to create ARRI Look File 2 (ALF-2) and allow creation of looks compatible with the ARRI ALEXA Mini and AMIRA. 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, and others in progress.

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 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. ARRI wrote an ALEXA SXT Look Management White Paper PDF, if you want more detailed information on this topic. 

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. 

Improved Image Quality

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 that are time-sensitive can now create burned-in looks with the full power of 3D Look Up Tables (LUTs).

Single Speed Mode

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.

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

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

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). 


ALEXA is simple to operate, and everything about its design ensures that you get a good image, no matter what. Its user interface has been specifically developed to be easy to learn and quick to operate. The camera's hardware is designed for most ergonomic use on the set, including the built-in shoulder cut-out, large number of accessories like the Low Mode Support LMS-3, the Remote Control Unit RCU-4 or the Wireless Compact Unit WCU-4, down to little details like differently shaped extrusions (eyebrows) above some buttons so the operator can feel the button’s position from the other side of the camera or when shooting in low light.

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.

Rugged Hardware

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.




Camera Lens System

Camera Lens Mount:
PL - 54 mm stainless steel LDS, Super 35 centered. 52.00 mm nominal flange focal depth without FSND filters.


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


Output Connector/Port:
3 x BNC - monitoring out HD-SDI
2 x Fischer 5-pin - Lens Control System LCS
1 x Fischer 12-pin - CLM-2, CLM-3, CLM-4 or later ZOOM
Input Connector/Port:
1 x Media
1 x XLR 5-pin - analog audio in AUDIO IN
1 x HD-SDI - BNC return video in HD-SDI, 1.5G RET/SYNC IN
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 LEMO 2-pin - 12 V accessory power out 12 V
1 x 16-pin - LEMO 16-pin external accessory interface EXT
1 x 3.5mm stereo mini jack - TRS - AUDIO OUT
1 x BNC - return video in HD-SDI, 1.5G RET/SYNC IN
1 x Other - custom LEMO 16-pin electronic viewfinder EVF

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.


Monitor Output:
4 x HD-SDI - MON OUT BNC connector for uncompressed 1.5 G HD-SDI video: 1920 x 1080 (16:9), 4:2:2 YCbCr; legal range HD video at 23.976, 24, 25, 29.97, or 30 fps. MON OUT 1b is a clone of MON OUT 1a. Embedded audio, time code, metadata and recording flag.


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 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
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
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 OVF-1 and MON OUT.

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)

Special Features

General Notes:
BNC connectors - are designed for fast exchange without camera disassembly. These connectors require a special tool (ALEXA Plus BNC Removal Tool, K5.72915.0).
Body is splash and dust proof through sealed electronics. - System is cooled through radiator/single fan.
For EVF-1 and MON OUT: - false color exposure check, peaking focus check, compare stored image with live image, RETURN IN video and anamorphic de-squeeze. For MON OUT additionally: Reel & clip number.
For EVF-1 and MON OUT - preset and custom frame lines, user rectangles, surround view, 180º image rotation, camera status,
Not compatible - ARRICAM Studio Anamorphic Extension, ARRICAM Studio Viewfinder Zoom Extension and Lite Universal Eyepiece.
Power Out: 12 V Connector - limited to 12 V, up to 2.2 A. RS, EXT and ETHERNET: input below 24 V is regulated up to 24 V
Power Out: above 24 V - input voltage = output voltage
SD Card - Stores frame grabs in ARRIRAW (.ari, 12 bit), TIFF (.tif, 16 bit), DPX (.dpx, 10 bit) or JPEG (.jpg, 8 bit) format. Stores log files. Also used for installing Software Update Packets (SUPs).
SD Card - Stores frame grabs in ARRIRAW (.ari, 12 bit), TIFF (.tif, 16 bit), DPX (.dpx, 10 bit) or JPEG (.jpg, 8 bit) format. Stores log files. Also used for installing Software Update Packets (SUPs).
Sound level silent operation - at higher temperatures possible with fan mode set to 'Rec low'.
Sound level under 19 db(A) - while recording ProRes 4444 16:9 HD @ 24 fps and ≤ +30° Celsius (≤ +86° Fahrenheit) with lens attached and fan mode set to 'Regular', measured 1 m/3 feet in front of the lens.
Splash and dust proof through sealed electronics.
System cooling through radiator/single fan.
Technical data based on SXT Software Update Packet SUP 1.0. - All data subject to change without notice.
The OVF-1 can be replaced - with the ALEXA Electronic Viewfinder EVF-1 with an Electronic Viewfinder Adapter EVA-1. The EVF-1 is a high quality, low latency (≤1 frame delay) electronic color viewfinder with a 1280 x 784 F-LCOS micro display.


Relative Humidity:
95% humidity max, non-condensing.
Operating Temperature:
-4° F to +113° F (-20° C to +45°)


EVF Features:
False Color Mode
EVF Imagery:
EVF Adjustments:
Automatically keeps an upright image - with an optional manual image rotation.
Basic Insert Module BIM-1 - for RGB frame glow
Compatible with 8x and 10x 435 eyepieces, 435 eyepiece extensions - and all ARRIFLEX and ARRICAM heated eyecups
de-squeeze optics - or 2x anamorphic lenses (1.3x de-squeeze module also available separately)
EVF - Rotates to left and right of camera body and telescopes closer/farther from camera body.
ND 0.6 contrast filter - flips in/out
Viewing Angle:
360° rotation


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