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ARRI ALEXA LF Large Format (True) 4K Camera & ARRI Signature Primes Announced

February 2^nd, 201828

ARRI ALEXA LF Large Format (True) 4K Camera & ARRI Signature Primes Announced

by Tim FokFebruary 2^nd, 2018

ARRI has used BSC Expo in London to announce their venture into true 4K acquisition. The ALEXA LF is a new large-format system with new LPL lens mount.

It’s been some time coming, but finally ARRI has “ true 4K” (not up scaled from 3.4K) camera in its arsenal.

Whilst this article ducks under the lifting embargo barrier, I’m headed to BSC to get an interview with ARRI, so we’ll have a bit more hands-on info imminently.

ARRI LF with 4.5K Resolution

The ALEXA LF resolves a 4448 X 3096 image, like previous ARRI camera systems it will record to a selection of Apple ProRes flavours and unencrypted ARRIRAW, but up to 150fps (50fps slower than the likes of the Alexa Mini).

“Featuring a sensor slightly bigger than full frame, ALEXA LF records native 4K with ARRI’s best overall image quality. Filmmakers can explore a large-format aesthetic while retaining the sensor’s natural colorimetry, pleasing skin tones and proven suitability for HDR and WCG workflows.”

One of the main talking points will be the brand new lens mount – LPL. ARRI have implemented this to supposedly offer full frame lenses in a smaller and lightweight form factor, due to the wider diameter and shorter flange distance.

Not to worry however, the lens mounts is backwards compatible to PL. You’ll be able to purchase a LPL to PL adaptor that will accept all PL lenses including puny super35mm (there will likely be some sort of image crop applied).

New ALEXA LF sensor

ARRI Signature Prime Lenses

Alongside the new ARRI LF is a new set of full frame lenses. 16 of them ranging from 12 to 280mm at a tasty T1.8.

4 will be initially announced (35mm, 47mm, 75mm and 125mm) and will ship early June 2018. The camera itself should ship end of March.

If you’ve chatted to ARRI at any recent-ish trade shows and read between the lines – this camera has been on the horizon for a while.

It surpasses the requests for simply a “true 4K camera” from on-demand TV companies – it’s a fairly heavyweight package with its large format sensor. It will be interesting to see if any other “smaller models” trickle out later in the year in the super35mm format. Also, it will be interesting to see how it stacks up against the RED Weapon with a Monstro 8K VV sensor and the new Sony VENICE, the two first full-frame professional cameras.