ARRI’s ALEXA has never failed to impress. It has a consistently high image quality and the most efficient workflows available for both on-set and post-production. The ALEXA SXT is a step up once again, improving upon these features.
You’ll find easy in-camera ProRes 4K recording, along with improved image quality, new colour management, super flexible on-set monitoring and a powerful new media bay. With these fantastic new additions, the SXT has risen above the already widely-admired gold standard set by the original ALEXA.
The full ALEXA range comprises the ALEXA SXT EV, SXT PLUS, and SXT studio models.
To cater for ever-changing production methods, ALEXA SXT cameras have been designed to give users what they need. ARRI’s continuous commitment to future-proofing their technology is clearly evident in the ALEXA SXT. Along with the powerful components of today, it has the potential to handle the software and hardware upgrades of tomorrow.
With the SXT, ARRI has also responded to the industry demands. It is now even more streamlined, with on-set workflows and three fully independent HD-SDI outputs. By using Log C images, the director can view a pristine shot with live grading. In addition, there is a Rec 709 image feed to Video Village and Rec 709 image overlaying status information viewable via the camera’s on-board monitor.
With the ALEXA SXT’s in-camera ProRes 4K UHD and ProRes 4K Cine recording, this video cameras is the perfect tool for productions in need of 4K UHD TV or 4K DCI cinema. This offers filmmakers a familiar, easy to handle, highly versatile ARRI ALEXA platform.
The ALEXA SXT retains its acclaimed 3.4K ALEV III sensor. This is the basis of the superb overall image quality that the ALEXA range delivers. To boost this already impressive image quality, the state-of-the-art hardware from ARRI’s ground-breaking ALEXA 65 camera has been added. These elements combine with the latest generation of FPGA processors and create a remarkably fast internal backplane, to deliver a completely overhauled image processing chain, optical noise reduction and advanced pixel correction.
The new colour management ensures the ALEXA SXT returns the most powerful and punchy performance, thanks to the exceptionally wide native colour gamut of its sensor.
ALEXA SXT Highlights
• Easy in-camera ProRes 4K recording
• 3.4K ALEV III sensor
• Improved image quality
• 3D lookup tables, ASC colour decision list, Rec 2020 gamma
• Three fully independent HD-SDI outputs
• Live in-camera grading on set
• Future-proof technology
With in-camera recording of ProRes 4K UHD (3840 x 2160 pixels) and ProRes 4K Cine (4096 x 2637 pixels), ALEXA SXT cameras are the ideal choice for productions that need 4K UHD TV or 4K DCI cinema deliverables, so filmmakers can continue using the ARRI ALEXA platform they know and love.
Improved image quality
ALEXA SXT cameras keep the acclaimed 3.4K ALEV III sensor of previous ALEXAs and add the state-of-the-art electronics of ARRI's groundbreaking ALEXA 65 camera. These high-performance electronics combine the latest generation of FPGA processors with a lightning-fast internal backplane and form the basis of a completely overhauled image processing chain, advanced pixel correction and optional noise reduction. This results in a further improvement in overall image quality. Like their XT predecessors, ALEXA SXT cameras retain the unique and popular Open Gate, 4:3 and 16:9 sensor modes, which can be recorded in ARRIRAW or ProRes.
New Looks and smoother workflow
The creation of new, powerful and unique looks has been made possible by utilizing the advanced color management engine originally developed for the ARRI AMIRA. Taking advantage of the extremely wide native color gamut of the ALEXA sensor, this new engine allows unprecedented control, which in the end means greater creative freedom for the filmmaker. In addition, previewing of looks on-set is improved, including the option to use the wide color gamut of Rec 2020 gamma, while dailies creation is made more efficient and final grading made faster.
A new type of look file, the ALF-2 (ARRI Look File 2), contains an ASC CDL (American Society of Cinematographers Color Decision List) as well as a 3D LUT (look-up table). ALF-2 files can be created with a new ARRI Look Tool, which can also import standard 3D LUTs. ALF-2 files and the tools that create them are compatible between ALEXA SXT, ALEXA Mini and AMIRA. Once loaded into the camera, CDL parameters and/or 3D LUTs can be applied to any of the three HD-SDI outputs or the viewfinder. For those who need faster workflows, CDL parameters and/or 3D LUTs can also be applied directly to the ProRes recording.
The new color management engine can easily match the look of current ALEXA cameras, but also provides the basis for radically different looks.
Super flexible on-set monitoring
To further streamline on-set workflows and deliver what has been asked for by crews all over the globe, ALEXA SXT cameras include three fully independent HD-SDI outputs. This allows, for instance, a Log C image to be used to show the director a pristine image with live grading, a clean Rec 709 image to be fed to video village, and a Rec 709 image with status information overlays to be displayed on the camera's on-board monitor.
ALEXA SXT cameras are designed to keep up with the growing needs of changing production methods: their powerful electronics offer significant potential for future hardware and software upgrades, illustrating ARRI's continuing commitment to the future-proof technology concept behind the ALEXA system.