Alexa SXT Plus

Future proof images for 4K, HDR, WCG, HFR

More than ever before, ALEXA offers the best overall image quality with the SXT cameras. For content producers that are increasingly concerned about compatibility with next-generation standards for deliverables and displays, there is no better choice than ALEXA SXT. By striking a perfect 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, with 16 bit in-camera processing. It is therefore uniquely 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.&nb

Great choice of recording formats

ALEXA SXT offers a total of 14 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 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 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.

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. To get an idea of which lens covers which sensor mode and target aspect ratio, check out the online Lens Illumination Guide.

Uniquely 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).

Keep your 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. A new ARRI Color Tool (ACT) and ARRI Look File (ALF-2) allow the creation of unique looks, which are compatible with 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, Filmlight Prelight and Technicolor DP Lights, with 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 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.

For more detailed information take a look at the ALEXA SXT Look Management white paper. Full flexibility for monitoring on set

Full flexibility for monitoring on set

With the powerful processing hardware from the ALEXA 65, ALEXA SXT cameras provide a wide range of monitoring features that make this a true What-You-See-Is-What-You-Get camera.

On-set quality control for High Dynamic Range

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 great to ensure that the 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.

The right image for each crew member

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.

Rec 709 and Rec 2020 monitoring outputs

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.

Better frame grabs

Frame grabs are now possible in all sensor modes and will 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.

New media bay and drives

ALEXA SXT cameras can accept a wide range of media, including the new, high-performance SXR Capture Drives. 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.

Wide range of media

The new media bay accommodates a wide range of media (each through an adapter) for unrivaled flexibility for rental houses and productions: XR and SXR Capture Drives, SxS PRO and SxS PRO+ cards, and CFast 2.0 cards.

New SXR Capture Drives

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).

Increased frame rates

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.

For a listing of all recording formats and frame rate increases see this SXT Fps Overview.

ProRes RAID

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