While most ARRI Super 35 lenses cover 3.2K, some wide angle lenses will not cover the full Open Gate. 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. 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 largest number of pixels that can be processed at 120 fps (3168 x 1782).
#ARRI LOOK CONVERTER PLUS#
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.ĭesigned 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.
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. 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. 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 2K DCI delivery format (2048 x 858), so no debayering, cropping, rescaling or de-squeezing is needed in post. The most economical path to the best overall 2K image quality with anamorphic lenses. 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.Ī 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. 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. All sensor modes can now be recorded in ARRIRAW or ProRes. 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 accommodatedĪLEXA SXT offers (14) different in-camera recording formats, seven of which are completely new. 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. It is therefore suited to the creation of content for emerging HDR (High Dynamic Range) display technologies. 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. 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. Same tools for ALEXA SXT, ALEXA Mini & AMIRAįuture Proof Images for 4K, HDR, WCG, & HFRĪLEXA offers the great overall image quality with their SXT cameras.Improved on-set preview, more efficient dailies and faster final grading.Matches current ALEXA images, but provides basis for radically different looks.
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