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Arri Alexa Mini topic - Small, Lightweight, Raw Recording Camera
  • Arri Alexa Mini Announced - Small, Lightweight, Raw Recording Arri Camera

    image

    http://www.arri.com/alexamini/

    Compact, lightweight and self-contained, the ARRI ALEXA Mini is a versatile additional tool in the ALEXA camera range. Crews will find that the ALEXA Mini perfectly complements their ALEXA shooting kit, eliminating the complications of working with third-party cameras for specialized shots and keeping everything within a single system that is trusted all over the world.

    To maintain ARRI’s famously rugged build quality in a small and lightweight camera, a number of unique design solutions have been incorporated. These include highly integrated and sealed electronics, a lightweight carbon housing and a solid titanium PL mount that connects directly with the new internal sensor mount – also made of titanium – to ensure a super-stable flange focal distance, even when using large lenses. Nimble in use and hardy on set, the ALEXA Mini is a go-anywhere tool, easy to transport in backpacks or as carry-on luggage.

    PR

    ARRI announces the new ALEXA Mini, a versatile additional tool in the ARRI ALEXA camera range that combines a compact and lightweight form factor with the same unparalleled image quality that has made the ALEXA system a gold standard for the industry. Designed for specialized shot-making, the ALEXA Mini perfectly complements a full ALEXA shooting kit and allows crews to eliminate the complications of working with third-party cameras by keeping everything within a single system that is trusted all over the world.

    To maintain ARRI’s famously rugged build quality in a small and lightweight camera, a number of unique design solutions have been incorporated. These include highly integrated and environmentally sealed electronics, a lightweight carbon housing and a solid titanium PL mount that connects directly with the new internal sensor mount to ensure a super-stable flange focal distance, even when using large lenses. Nimble in use and hardy on set, the ALEXA Mini is a go-anywhere tool, easy to transport in backpacks or as carry-on luggage.

    The ALEXA Mini can be operated in a number of ways: by wireless remote control, as a normal camera with the ARRI MVF-1 multi viewfinder attached, or with an on-board monitor and controlled via the user button interface on the camera body. Light enough to be comfortably held at arm’s length in a hand rig, its compact size and extremely quiet operation also make it ideal for tight shooting conditions. The symmetrical design permits filming in any orientation, including upside-down and in portrait mode, while multiple accessory points enable highly creative mounting solutions. In addition, the ALEXA Mini’s interchangeable lens mount can be replaced with any of those designed for the ARRI AMIRA, allowing the use of B4 video and EF mount stills lenses.

    Equipped with a 4:3 sensor, automatic de-squeeze mode for anamorphic productions and frame rates of 0.75-200 fps, the ALEXA Mini records ProRes or uncompressed ARRIRAW either in-camera to CFast 2.0 cards or to a specially-designed external Codex recorder that can record image streams from up to four ALEXA Minis simultaneously — a compelling option for multi-camera setups such as 360° plate shots. Images from the ALEXA Mini will perfectly match those from all other ALEXA cameras, making the final grade easier and quicker.

    Integrated functionality is at the heart of the ALEXA Mini’s efficient and self-contained design. A built-in lens motor controller allows new active lens motors to be connected directly to the titanium PL mount, while ARRI Lens Data System (LDS) technology provides frame-accurate metadata that can save time and money both on-set and in post. Wi-Fi connectivity means that iOS or Android devices can be used to remotely control camera functions such as the motorized internal ND filters, which permit rapid responses to changing light conditions without adding bulk to the camera configuration.

    The body design is optimized for use with new-generation brushless gimbals, multicopters and other specialized rigs. It is compact enough in the lens direction to allow the use of standard PL mount lenses even on lightweight and space-constrained rigs, such as gyro-stabilized aerial systems. The camera’s superb low-light performance makes it perfect for underwater work; dedicated underwater housings are currently being developed by leading manufacturers.

    Like the ARRI AMIRA, the ALEXA Mini can record 4K UHD ProRes images, facilitating real-time 4K UHD output and simple pipelines for high-resolution deliverables. More importantly, the Mini and all other ARRI cameras with the ALEV III sensor offer unrivalled overall image quality by focusing not just on spatial resolution, but also on other parameters such as colorimetry, skin tones and High Dynamic Range (HDR). This is equally true whether the chosen output is HD, 2K, 4K UHD or one of the native resolution outputs like uncompressed ARRIRAW 2.8K or ProRes 3.2K, ensuring that images captured with the ALEXA Mini are future-proof, whatever new industry standards emerge.

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  • 38 Replies sorted by
  • Holy crap this is incredible. Wish the cost was down compared to an Alexa though :/

  • holly shit upscale shit

  • So now everybody's waiting for the Arri action cam and finally the Arri smartphone ;-)

  • Hardly, it's a logical continuity of their product. They noticed their Alexa XT M despite being separated from the main body in a smaller form factor could hardly be taken in a helicopter. Most movies (such as James Bond Skyfall) used Alexa primary but were forced to switch to RED when they needed some difficult aerial shot to achieve. The coming of MOVI and the new era of stabilizer were also requiring a new kind of camera. It was that or they would have let RED take over the market. I bet much more movies are going to be shot in 3D with ARRI now.

  • That's exactly what I was thinking....perfect camera for 3D rigs. Interested in the multi-cam recorder as well.

    I think these will both go on my rental list for projects with a budget.

  • Unfortunate for RED, but ARRI seems to be cleaning up in the movie industry. Is it me, or fact, that when RED arrived, they really upset a few apple carts, but slowly and surely the old boys caught up and overtook them. I don't profess to know which is ultimately the better camera, but the industry would appear to be speaking with their feet.

  • @wordsofpeace I think Red might be capable, they just seem to put too much stock in the wrong things. Mainly resolution and specs on paper, versus color/mojo, and ease of workflow.

    People laughed at C300 when scarlett was announced. Canon C300/100 line seem kinda meh on paper, but deliver a nice image out of camera with an easy to use codec with the c300.

    Same with Arri and Pro Res vs R3d. That matters when time is short.

    Also, mojo/"the look" will always beat specs.

  • Behind the Scene

  • Check out this incredible article by Film + Music Magazine where they interviewed Casey and Danielle, the team behind Mindcastle's "Balloonist."

    https://www.filmandmusic.com/articles/the-arri-alexa-mini-irl-gear-talk-with-mindcastle/70

    They also have an even more amazing video with the Alexa Mini called "The Journey"

  • As selfie stick

  • ALEXA MINI – documentary test

  • I know it has same sensor as alexa, but from what i have seen something is missing (compared to original alexa) , maybe its just my eyes .