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GFX 100s

World’s first  mirrorless digital camera

equipped with 102MP CMOS sensor with phase detection pixels

across the entire frame; double the resolution & processing speed.


The GFX medium format mirrorless digital camera combines a large 102MP CMOS sensor with high-performance GF lenses to deliver unsurpassed image resolving performance and color reproduction capability. This large sensor features high speed phase detection AF, first seen in the X Series range of mirrorless digital cameras.

Phase detection pixels are embedded at high density across the sensor surface to provide high speed autofocusing with excellent accuracy.

The superior image quality coupled with the fast phase detection AF allows the camera to reach a new audience in moving subject medium format photography.


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Fujifilm GFX 50s




A rangefinder-styled version of the GFX 50S that was first announced at the 2016 Photokina.


The GFX 50R is 145g lighter than the 50S, and is 25mm thinner.

The compactness and redesigned controls make the 50R

even easier to handle & operate than the 50S.







The FUJIFILM GFX 50R's magnesium alloy camera body is dust- and water-resistant while also being able to withstand low temperatures. Despite carrying a large image sensor, the camera is compact, lightweight and extremely durable. The GFX 50R rangefinder style design, weighing just 775g, makes it astonishingly compact and lightweight despite being a medium format digital camera, especially when fitted with a compact lens. Weather seals on the inside of the camera body means it is made to withstand dust and moisture and low temperatures. That makes it a perfect choice for a wide range of tough shooting conditions, as well as in-studio.


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Sony Alpha 7iii




 As with Sony’s other popular Alpha 7 and 9 series cameras, the new Alpha 7III is a full-frame mirrorless camera, a class of camera Canon and Nikon have yet to offer, though similar models are promised. 

In the meantime, Sony commands the full-frame mirrorless market.

As its name implies, a mirrorless camera lacks the reflex mirror of a digital single lens reflex camera that, in a DSLR, provides the light path for framing the scene though the optical viewfinder.  


In a mirrorless, the camera remains in “live view” all the time, with the sensor always feeding a live image to either or both the rear LCD screen and electronic viewfinder (EVF). While you can look through and frame using the EVF as you would with a DSLR, you are looking at an electronic image from the sensor, not an optical image from the lens. 

The advantage of purely electronic viewing is that the image you are previewing matches the image you’ll capture, at least for short exposures. The disadvantage is that full-time live view draws more power, with mirrorless cameras notorious for being battery hungry. 

Other mirrorless advantages include:

  • Compact size and lighter weight, yet offering all the image quality of a full-frame DSLR.
  • The thinner body allows the use of lenses from any manufacturer, albeit requiring the right adapter, an additional expense.
  • Lenses developed natively for mirrorless models can be smaller and lighter. An example is the Laowa 15mm f/2 I used for some of the testing.
  • The design lends itself to video shooting, with many mirrorless cameras offering 4K as standard, while often in DSLRs only high-end models do.
  • More rapid-fire burst modes and quieter shutters are a plus for action and wedding photographers, though they are of limited value for astrophotography.


Compressed vs. Uncompressed

Sony-Comp-UnComp The Sony a7III offers a choice of shooting Uncompressed or Compressed Raw files. Uncompressed Raws are 47 Mb in size; Compressed Raws are 24 Mb. 

In well-exposed images, little difference in image quality

has been seen. 

The dark shadows in underexposed nightscapes withstand shadow recovery better in the uncompressed files.

Compressed files have more noise and magenta discoloration in the shadows. 

It is not clear if Sony’s compressed Raws are 12-bit vs. 14-bit for uncompressed files. 

Nevertheless, for the demands of nightscape and deep-sky shooting and processing, shooting Uncompressed Raws is recommended. Use Compressed only if you plan to take lots of time-lapse frames and need to conserve memory card space on extended shoots. 


Great Features for Astrophotography 

Here are some other Sony a7III features found to be of value for astrophotography, and for operating the camera at night. 


SONY TILTING SCREEN It tilts up and down but does not flip out as with the Canon 6D MkII’s. Still, this is a neck- and back-saving feature for astrophotography.

Tilting LCD Screen 
Like the Nikon D750, the Sony’s screen tilts vertically up and down, great for use when on a telescope, or on any tripod when aimed up at the sky. As photographers age, this becomes a more essential feature!


Custom Buttons 
The four C buttons can be programmed for oft-used functions, making them easy to access at night. Standard functions such as ISO and Drive Mode are easy to get at on the thumb wheel, unlike the Nikon D750 where I am forever hunting for the ISO or Focus Zoom buttons, or the Canon 6D MkII which successfully hides the Focus Zoom and Playback buttons at night.

 My Menu 

In new models, Sony now offers the option of a final “My Menu” page which you can populate with often-used functions from the other 35 pages of menu commands!

Adaptability to Many Lenses 
Using the right lens adapter (I use one from Metabones), it is possible to use lenses with mounts made for Canon, Nikon, Sigma and others. Plus there are an increasing number of lenses from third parties offered with native Sony E-mounts. This is good news, as astrophotography requires fast, high-quality lenses, and the Sony allows more choices.

Lighter Weight / Smaller Size
The compact a7III body weighs a measured 750 grams, vs. 900 grams each for the Nikon D750 and Canon 6D MkII. The lower weight can be helpful for use on lightweight telescopes, on small motion control devices, and for simply keeping weight and bulk down when traveling. 


Dual Card Slots 

Not essential, but having two card slots is very helpful, for backup, for handling overflows from very long time-lapse shoots, or assigning them for stills vs. movies, or Raws vs. JPGs. Only Slot 1 will work with the fastest UHS II cards that are needed for recording the highest quality 4K video.

USB Power 

It is possible to power the camera though the USB port (indeed that’s how you charge the battery, as no separate battery charger is supplied as standard, a deficiency). This might be useful for long shoots, though likely as not that same USB port will be needed for an intervalometer or motion control device. But if the Sony had a built-in intervalometer…! 


Display Options
To reduce battery drain it is possible to turn off the EVF completely – rarely used at night- and to turn off the LCD display when shooting, though the latter is an option you have to activate to add to the Display button’s various modes. 

The downside is that when shooting is underway you get no reassuring indication anything is happening, except for a brief LED flash when an image is written to a card.  


 Electronic Front Curtain Shutter

Most DSLRs do not offer this, but the Sony’s option of an electronic front curtain shutter and the additional Silent Shooting mode completely eliminates vibration, useful for some high-magnification shooting through telephotos and telescopes. 


In-Camera Image Stacking 
Also missing, and present on most new Canons, are Multiple Exposure modes for in-camera stacking of exposures in a Brighten mode (for star trails) or Averaging mode (for noise smoothing). 

Yes, this can all be done later in processing, but having the camera do the stacking can often be convenient, and great for beginners, as long as they understand what those functions do, or even that they exist!

Time-Lapse Smoothing 
When using its internal intervalometer, the Nikon D750 has an excellent Exposure Smoothing option. This does a fine job smoothing frame-to-frame flickering in time-lapses, something the Canon cannot do. Nor the Sony, as it has no intervalometer at all.

Light Frame Buffer in LENR
This feature is little known and utilized, and only Canon full-frame cameras offer it. Turn on LENR and it is possible to shoot three (with the 6D MkII) or four (with the 6D) Raw images in quick succession even with LENR turned on. The Canon 5D series also has this. 

The dark frame kicks in and locks up the camera only after the series of “light frames” are taken. This is wonderful for taking a set of noise-reduced deep-sky images for later stacking. Nikons don’t have this, not even the D810a, and not Sonys. 

Illuminated Buttons 
The Sony’s buttons are not illuminated. While these might add glows to long exposure images, if they could be designed not to do that (i.e. they turn off during exposures), lit buttons would be very handy at night. 

Limited Touch Screen Functions 
An alternative would be an LCD screen that was touch sensitive. The Sony a7III’s screen is, but only to select an area for auto focus or zooming up an image in playback. The Canon 6D MkII has a fully functional touch screen which can be, quite literally, handy at night.  


Video Capability 

Here’s another area where the new Sony a7III really shines. 

It offers 4K (or more precisely UltraHD) video recording for videos of 3840 x 2160 pixels. (True 4K is actually 4096 x 2160 pixels.)

With a fast enough UHS-II Class card it can record 4K video up to 30 frames per second and at a bit rate of either 60 or 100 Mbps. 


At 24 fps videos are full-frame with no cropping. Hurray! You can take full advantage of wide-angle lenses, great for auroras. At 30 fps, 4K videos are cropped with a 1.2x crop factor.

In Movie Mode ISO speeds go up to ISO 102,400, but are pretty noisy, if unusable at such speeds. 

But when shooting aurora videos , the shutter speeds could be "dragged" as slow as 1/4-second, fully 4 stops better than the Nikon’s slowest shutter speed of 1/60 second in Full HD, and 3 stops better than the Canon’s slowest movie shutter of 1/30 second. 

Coupled with a fast f/1.4 to f/2 lens, the slow shutter speed allows real-time aurora shooting at “only” ISO 6400 to 12,800, for quite acceptable levels of noise. 


Real-time video of auroras is not possible with anything like this quality with the Nikon , and absolutely not with the Canon. And neither are 4K. 




EOS C700 FF Updates




The EOS Canon C700 FF is a new full frame cinema camera, outfitted with a 20.8MP CMOS sensor plus a triple DIGIC DV 5 processors.

Announced on March 28 and was on-hand at NAB 2018 this week.

Capable of capturing 4K ProRes and XF-AVC file formats, as well as 5.9K RAW at up to 60 fps using the optional CDX-36150 Codex Recorder.

Delivering 15 stops of dynamic range, IP streaming and support for multiple LUT formats.



Offering internal 4K/Super35 crop up to 72 fps and internal 2K/Super16 crop up to 168 fps. Canon Cinema EOS users will be familiar with the overall design and layout of the camera controls. Internally, the camera features two CFast card slots and one SD card slot. Plus 4 SDI outputs and 1 HDMI out, along with 2 monitor SDI outputs.






The new camera is available in both EF and PL mount options. As a full frame cinema camera costing about 27K€, it's at top of Canon’s Cinema EOS series.



Canon announced the EOS C700 FF, as the Company’s first full-frame cinema camera. The beauty and majesty of full-frame digital cinema is now becoming a new creative reality. Since the introduction of the EOS 5D Mark II DSLR camera in 2008, Canon has been a part of the full-frame video movement, and the introduction of the C700 FF has reinforced Canon’s commitment to this market. At the heart of the camera is a novel Canon-developed CMOS image sensor having a total of 5952 (H) x 3140 (V) photosites with a digital cinema 17:9 aspect ratio, which gives it the same image circle size as the full frame EOS 5D camera series. This supports a wide range of shooting options.



Available in both PL and EF Mount, the EOS C700 FF provides users with the same outstanding performance, operation and modular design as the EOS C700 (released in December 2016). 

Since the launch of Canon’s Cinema EOS line of products in November 2011, Canon's goal was to one day develop a cinema camera worthy of being the ‘A’ camera on major film productions, and Canon met that goal with the introduction of the EOS C700.


Responding to customer feedback and closely monitoring market trends, Canon set forth a new goal: to launch a full-frame cinema camera. With this introduction, it was certainly exciting to see the C700 FF in the hands of industry professionals.

Existing owners of Canon’s original EOS C700 cinema camera will be pleased to know they can have their Super 35mm sensor upgraded to the new Full-Frame sensor for a fee*.


Authorized Canon facilities able to process C700 upgrades as well as lens mount swaps, and offer equipment drop off, on-site repairs and upgrades, as well as equipment testing and demonstration.



The Sensor

The newly developed sensor featured in the EOS C700 FF has an active image area of 38.1 x 20.1mm and supports readout at full size, as well as Super 35mm, Super 16mm and anamorphic modes. In addition to full-frame lenses, it can be used with conventional Super 35mm lenses to originate 4K / UHD standardized production formats and Super 16mm lenses (with an adapter) to originate 2K / HD production formats in crop modes. The sensor captures wide tonality exceeding 15 stops of dynamic range and a wide color gamut meeting ITU-R BT.2020 standards. This offers broad latitude when grading, providing outstanding effectiveness in HDR video production.




The EOS C700 FF embodies a choice of two high-performance codecs for on-board recording –Canon XF-AVC or Apple ProRes. Like other cameras in the 4K Cinema EOS family, the EOS C700 FF uses CFast cards to capture 4K / UHD or 2K / HD. A striking feature of the C700 FF is the Oversampling 4K Processing that processes a 5.9K image capture to produce 4K (DCI or UHD) having enhanced image sharpness, curtailed moire, and a lowered visibility of noise at the higher ISO settings. This is especially advantageous for on-board anamorphic image capture. Low-rate 2K/HD proxy data including metadata, can be recorded to SD cards, ideal for offline editing. The camera also allows high-frame-rate recording of up to 168fps in 2K crop and relay or simultaneous recording onto both CFast cards. In addition, the C700 FF can shoot at a Full HD high-frame-rate recording at a maximum of 168 fps. Additional formats are planned with future firmware updates.

To further complement the features of the EOS C700 FF, Canon has turned to its trusted partner Codex to provide a fully integrated (no cables) recording and workflow option. The combination of the optional Codex CDX-36150 recorder docked onto the back of the EOS C700 FF enables 5.9K 60 fps RAW recording, 4K RAW up to 72 fps (in 24p mode), 4K ProRes up to 60 fps and 2K ProRes up to 168 fps (in Super 16mm mode).

The C700 FF also supports the latest version (1.0) of the ACESproxy, the ACES (Academy Color Encoding System) color management transmission standard.



For users looking to create High Dynamic Range (HDR) imagery, the EOS C700 FF is an excellent solution, providing 15 stops of latitude (with Canon Log2 only), along with Canon’s proprietary Log Gammas (Canon Log3, Canon Log2 and Canon Log) and renowned color science. Canon Log2 is recommended when originating HDR imagery containing both highlight details and deep shadowed details. In comparison with Canon Log, Canon Log3 offers a wider dynamic range while retaining performance in darker regions.

Additionally, these cameras seamlessly integrate with Canon’s latest professional 4K UHD Reference Displays for on-set review and color management that conforms to SMPTE ST 2084 standards of HDR display.

The look of a cinematic production begins with the lens, and the EOS C700 FF offers both PL and EF lens mount options which are interchangeable at a Canon authorized service center. For full frame imaging, the EF lens mount version of the new EOS C700 FF is compatible with Canon’s family of seven Cinema Prime lenses, including the newly announced CN-E20mm T1.5 L F lens, as well as the diverse lineup of over 70 interchangeable EF lenses. The EF mount supports Canon’s Dual Pixel CMOS AF technology and Dual Pixel Focus Guide. The Focus Guide assists operators with a precision visual indicator in the viewfinder when pulling focus. Alternatively, for certain demanding shooting situations the reliable capabilities of Dual Pixel CMOS AF can be deployed. The EOS C700 FF PL mount version is also compatible with Cooke’s /i metadata communication technology.





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Canon C700 Full Frame


A 5.9K (5952 x 3140) CMOS 38.1 x 20.1 mm full frame sensor as the engine.

Plus 15-stops of dynamic range and 5952 x 3140 12-Bit RAW recording (external only) these are head turning specs and absolutely worthy of the “cinema” name on paper. Keep in mind while shooting in 5.9K you’ll have an aspect ratio of 17:9 with the camera, which especially lends itself to anamorphic shooting.


To unlock the full potential of the C700 Full Frame, you’ll want to add a codex external recorder to your kit. The recorder mounts directly to the rear of the camera and makes raw shooting a reality. Without the recorder you’re limited to a still impressive XF-AVC 4:2:2 10-Bit

4096 x 2160 at upto 60 fps in-camera. Step down to 2K and you can record internal XF-AVC 4:4:4 12-Bit to two CFast 2.0 slots.

The codex external recorder is not a cheap investment at about 5700€ (not including storage SSDs), but in my mind it is an absolute necessity if you want to really put the C700 FF through its paces. I’ve always liked the image out of the C700 and the Full Frame version looks great in the booth, but we’ll need to get our hands on the camera to judge how the image holds up in the field.


The CN-E 20mm T1.5


The 20mm fills a gap between the 14mm and the 24mm bringing the Canon Cinema Prime set to a total of seven lenses. While the T-stop varies throughout the line, the 20mm covers full frame and lands at a very speedy T1.5.

Addition of a 20mm to your kit may be a good idea.


The C700 line, with the addition of full frame, seems to be on the right track as a major competitor in the high end cinema camera field.

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According pro sources, the Alexa sensor has a wide pixel pitch allowing for great low light performance as well as the ability to resolve rich detail in shadows and smooth gradation in highlight roll-off.

The Alexa mini, when shooting in open gate, full resolution mode at 3.4K translates to roughly 7.5 megapixels when individual frames of video are extracted and processed into still photos. The sophistication and quality of this imaging system present a unique opportunity to combine professional digital cinema capture with the ability to simultaneously create publishable photos.

After colour grading a Log C image from an Alexa Mini, you can continuously output photos of each frame. With the Alexa’s rich skin tone detail, this presents a unique option for high-end fashion stills. Combine this with the Alexa Mini’s ability to capture high-resolution in stunning detail and you have an underrated recipe for visual magnificence. Capturing slow motion digitally on the Alexa allows for stunning video and professional stills to be created at the same time and when post-processed and mastered usable for ultimate release and publication.

7.5 megapixels are more than enough to create a high-quality print roughly the size of a magazine page. The maximum dimensions one could create a high-quality (300ppi) print from a 7.5mp image are 10.5”x 7.75”. This means that, from a technical standpoint, one could easily create high-quality imagery and video simultaneously for broadcast and for print when looking at using the Alexa Mini for stills and video. With the Alexa’s sophisticated colour science and internal processing, the benefits of using it for magazine-sized prints are easy to see. Combining still photography and cinematography units on a set that requires both would reduce the cost of the production, as one operator and camera crew could be hired to execute the raw masters that would be used to create both the release video and photo prints.

The ARRI Alexa revolutionised the very nature of digital cinematography. At its core, the Alexa possesses a nine-year-old sensor design that has become the gold standard of the motion picture industry. Favoured by cinematographers everywhere, it has helped to bridge the transition between film and digital. Today’s world of modern DI computer carts recording raw bayer data streams from high-tech camera systems is a far cry from the early days of keeping film mags safe from the elements. ARRI cameras were there the whole time, with their 100-year anniversary on the horizon. Will they announce some new groundbreaking tech? Time will tell.

Arri 65mm sensor

When Arri debuted the new Alexa 65 system at Cinec 2014, a tectonic shift in the industry occurred. The era of medium format cinematography had arrived. ARRI announced that the sensor design is identical to that of the Alexa, though much larger in scale. This is a testament to the integrity of the Alexa sensor’s engineering design.

Want greater resolution and a larger sensor? No problem, ARRI dropped the Alexa 65 behemoth and reinvented the 65mm format for the digital era. Vision Research attempted to create a 65mm industry standard camera with the Phantom 65 but that imaging system is no longer in production. When more Alexa 65 units are available in the future, the potential is unlimited. It becomes more likely that in the future landscape of media, professional stills and video will likely merge using the same camera crew.

A 65mm image plane is medium format, the favoured format of still photographers worldwide. With its massive imaging plane, a 65mm negative creates a lifelike impression of its subjects, rendering an organic image with an incredibly fine grain structure. On high-end productions, if an Alexa 65 could be sourced for a stills and video campaign, both tasks could be executed simultaneously by the same technician. This type of lensing would likely produce some truly amazing end results. After all, the vintage lenses for the Alexa 65 that ARRI markets as vintage 765 are simply rehoused Hasselblad stills lenses, the brand favoured by pro photographers worldwide. Combine the amazing image quality of a medium format Alexa sensor paired with some of the best optics in the world, and the possibilities for the convergence of cinema and pro photography are looking very bright. The resolution provided by a still extracted from an Alexa 65’s raw data video stream, could be used to create a high-quality billboard. The ability for companies to create medium format digital cinema and 300dpi billboard size equivalent prints satiates the majority of current broadcast usages of visual imagery currently employed in modern media.

Using the ARRI Alexa camera system provides a powerful platform to create stills and video. This camera’s strength in resolving skin tones makes it an exceptional choice for productions worldwide. When the Alexa is used concurrently to create motion and stills, this streamlines the editorial and post process, eliminating the need for hiring multiple technicians. The promise for economic savings for advertising producers worldwide is also quite appealing when considering the combination of the two roles for video and photo into one streamlined unit. This would enable companies to save on costly investments by not having to hire two separate professionals, one video and one for stills, but rather to pay one camera crew to perform both tasks simultaneously.


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Studio Camera 4K

The world's smallest Ultra HD live studio camera!




Live Multi Camera Production

Broadcast quality Ultra HD that’s small enough to use anywhere

The small size and completely open design of the Micro Studio Camera 4K makes it perfect for any live multi camera production! It’s virtually invisible and can be hidden just about anywhere on set, giving you the ability to have more camera angles than ever before so you can create a more interesting program. You can even hide them on stage to get incredible shots of live performances or, because they’re so small, safely fly them overhead during sporting events. It can also be used in the studio by rigging it with a professional broadcast lens and a Blackmagic Video Assist for monitoring



Revolutionary Design

The world’s most riggable Ultra HD studio camera

The Blackmagic Micro Studio Camera 4K is engineered with a super tough magnesium alloy core in a body that’s not much larger than the lens mount itself! You can use affordable, high performance MFT lenses or add a B4 adapter to work with traditional broadcast lenses. The Micro Studio Camera’s SDI program input accepts commands via the SDI connection from any ATEM the SDI connection from any ATEM switcher so you get remote control of camera settings, color balancing, black level, gamma, lens focus, iris and zoom control and much more. The expansion port includes PTZ and B4 lens control outputs so you can remote control remote heads and broadcast lenses all from a single SDI connection.




Ultra HD Image Sensor

True broadcast quality
high resolution Ultra HD sensor

The Micro Studio Camera 4K includes an incredible quality broadcast grade Ultra HD sensor for amazing clarity and the finest textures. Ultra HD is even more important when you’re working in HD because the extra sensor resolution completely eliminates any color loss from the sensor’s bayer pattern so you get full bandwidth RGB HD color and superior sub pixel anti-aliasing for amazing fine image detail. The Micro Studio Camera 4K has a 6G-SDI connection so it works up to 30 frames per second in Ultra HD and can also be switched to 3G-SDI or HD-SDI so it can operate up to 1080p60. If you’re working in HD or Ultra HD the Micro Studio Camera 4K can easily handle both.




Broadcast Connections


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Arri Alexa Mini




Compact, lightweight & feature-filled, the ARRI ALEXA Mini will be a

highly versatile addition to your camera system.

You will find that the Mini

perfectly compliments your ALEXA shooting kit,

eliminating the complications of third-party cameras

for specialized shots, with a well-trusted system.



ALEXA Mini Features:

*Versatile additional tool in the ALEXA camera range

*Exciting variety of application areas

*Super-lightweight carbon body

*Exchangeable lens mounts

*ALEXA sensor and image quality with internal 4:3 & ARRIRAW recording

*Integrated lens motor control and ND filters

*Perfect for gimbals and multicopters

*Future-proof technology with 4K UHD, HDR & HFR recording







Strength and agility through state-of-the-art components


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.



Versatile mounting and shooting options

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.






 Save time on the set

With the ALEXA Mini, no extra time need be spent on set configuring third-party cameras previously required for specialized shots, or on wrangling the image files coming out of them. Multi-camera setups such as 360° plate shots will be made simpler and faster by the external Codex recorder, which can record image streams from up to four ALEXA Minis simultaneously. The camera’s maximum frame rate of 200 fps means it can also be used for stunning slow-motion cinematography, saving further time and money on set by doing away with the need for a separate high-speed camera.



Save time in post

In the past, productions combining small cameras from other manufacturers with an ARRI ALEXA shooting kit have encountered time-consuming difficulties in the grade, trying to match images from those cameras to ALEXA’s famously natural colorimetry and pleasing skin tones. With the ALEXA Mini these difficulties are eliminated because all images come from the same sensor and share the same color space. The ability to use CDLs and 3D LUTs in-camera for on-set color management will also reduce time and money spent in post.




Integrated lens motor control and ND filters, perfect for gimbals and multicopters

The ALEXA Mini’s camera body has been designed with new-generation brushless gimbals, multicopters and other specialized rigs in mind. 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, and dedicated underwater housings are currently being developed by leading manufacturers.


Greater efficiency through integrated functions

An integrated lens motor controller allows new active lens motors to be connected directly to the titanium PL mount, so focus, iris and zoom settings can be controlled from ARRI hand units without an additional external box. Further operational settings can be made remotely when working with the ARRI WCU-4 hand unit.







 Unsurpassed image quality

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 important than this, however, is the fact that 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 image quality parameters such as dynamic range.










Leverage the full power of the sensor

Two ALEXA Mini license upgrades are available, allowing users to get the most out of the camera’s 4:3 ALEV III sensor. The 4:3 License Key enables ALEXA Mini to record ProRes in 4:3, 4:3 cropped or 16:9 anamorphic and to de-squeeze both the viewfinder image and HD-SDI signal. The ARRIRAW License Key enables the camera to record 2.8K 16:9 ARRIRAW both internally and to an external recorder. Open Gate ARRIRAW recording is possible with cameras that have both license keys installed.


Better pixels, not just more

ARRI’s approach is unique in that it does not prioritize one element of image quality over any other. To achieve the highest overall image quality, ARRI uses bigger and better pixels on the sensor, rather than smaller pixels in larger numbers. The result is that ALEXA captures a wider dynamic range, truer colors, lower noise and more natural skin tones than other cameras, 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. This approach is vindicated by the huge numbers of professional filmmakers who choose ALEXA after extensive real‑world comparative testing.


Safe for future industry standards

Images from the ALEXA Mini are uniquely suited to next‑generation HDR (High Dynamic Range) displays, which are likely to play a role in defining future format standards. In addition, the ALEXA Mini’s camera speeds of 0.75 – 200 fps allow it to be used not just for slow‑motion shots, but also for HFR (High Frame Rate) acquisition, which might constitute another strand of future standards. ARRI’s holistic approach to image quality makes ALEXA the most future-proof camera system available today, and the safest investment for tomorrow.
































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