At the BSC Expo in Berlin, ARRI presents its complete large-format camera system that not only meets the demands of modern productions but extends beyond them, providing creative freedom previously unknown. Based on a large format 4K version of the ALEXA sensor, the system includes the ALEXA LF camera, the ARRI Signature Prime lenses, the LPL lens mount, and the PL-to-LPL adapter. It is also compatible with existing lenses, accessories and workflows.
Camera ALEXA LF
With its slightly larger than full frame sensor, the ALEXA LF records native 4K with ARRI's superb picture quality. Filmmakers can capture large-format aesthetics while retaining natural colorimetry, smooth skin tones, and proven suitability for high-dynamic-range and wide-color gamut workflows. Versatile recording formats such as the efficient ProRes and the uncompressed, unencrypted ARRIRAW with up to 150 fps offer complete flexibility.
"The larger ALEXA LF sensor has the same optimal pixel size as the other ALEXAs, resulting in a 4448 x 3096 pixel image," says Marc Shipman-Mueller, Product Manager Camera Systems at ARRI. "Not only does this provide extra resolution, it also creates a whole new look - which is truly immersive and has a three-dimensional look. The different recording formats and sensor modes make this look available to all productions and meet every possible delivery requirement."
ARRI Signature Prime Lenses
The ALEXA LF camera complement 16 large-format lenses: the ARRI Signature Primes. With focal lengths from 12 mm to 280 mm, they are equipped with an ARRI LPL mount. While the Signature Primes represent the state of the art of optical precision, they create organic, emotionally touching images that gently take the large format unnatural sharpness and texture it. An open aperture of T1.8 allows a shallow depth of field, the gentle drop of sharpness gives the subjects an increased presence in the image.
Thorsten Meywald, Product Manager Optical Systems at ARRI: "The ARRI Signature Primes are incredibly lightweight and robust due to their magnesium barrel. They also have LDS-2, the next generation of ARRI's Lens Data System. What impressed cameramen, however, is the look. Skin tones are rendered beautifully and gently, while all the details of landscapes can be captured. Our focus was on the emotional impact of the images, which have a distinctive and appealing bokeh in the foreground and in the background."
The new LPL mount
Optimized for large-format sensors, the LPL mount has a larger diameter and a shorter support footprint, making the ARRI Signature Primes and all future large-format lenses small and lightweight, with a large open aperture and responsive bokeh - a combination of features that would not be possible with the PL mount. The LPL mount will also be available for other ARRI cameras and also licensed to other lens and camera manufacturers.
Backwards compatible with lenses, accessories and workflows
Although the camera, lens mount, and lenses are new, compatibility with existing PL lenses and ALEXA accessories is a cornerstone of the system concept. A PL-to-LPL adapter makes it compatible with all existing PL lenses. be it Super 35 or Full Frame. The adapter is securely attached to the LPL mount without tools, allowing teams on the set to quickly switch between PL and LPL lenses, giving cameramen a huge range of lenses.
"As always, we want to ensure that our customers get the best possible return from their investment in ARRI equipment," emphasizes Stephan Schenk, Managing Director ARRI Cine Technik and responsible for the Camera Systems business unit. "Compatibility with existing lenses, camera accessories and workflows, ARRI look files, lens metadata and software tools makes it easy for film crews to work with the ALEXA LF on set, and for rental homes to integrate them into their inventory , We think that this system sets a standard for the future. At the same time, it minimizes redundancy and leaves nobody behind."