Introduction
The ARRI Alexa LF is a professional digital camera for film and TV productions, combining large-format technology with ARRI's proven color science. It allows for shallower depth of field and wider field of view compared to Super 35 cameras and has quickly become the standard for high-budget productions.
History & Development
ARRI introduced the Alexa LF in February 2018 at ISE in Amsterdam, with market launch in September 2018. It was ARRI's response to the growing trend towards large-format sensors in digital cinematography, triggered by cameras like the Sony Venice. In 2019, the more compact Alexa Mini LF followed as a more manageable variant. The LF series marked ARRI's first step away from the traditional Super 35mm format towards larger sensor formats.
Practical Use in Film
Roger Deakins used the Alexa LF for "1917" (2019), achieving the characteristic depth of field for long takes. "The Batman" (2022, DoP Greig Fraser) and "Dune" (2021, DoP Greig Fraser) were also shot with the LF. The larger sensor allows for shallower depth of field at the same focal length or wider field of view at the same depth of field. Typical workflows use ARRI RAW for maximum post-production flexibility or ProRes 4444 XQ for more direct editing. The LF is particularly suitable for productions that want to leverage the cinematic look of full-frame lenses.
Comparison & Alternatives
The Alexa LF directly competes with the Sony FX9, RED Monstro 8K, and Canon C700 FF. Compared to the classic Alexa XT, the LF offers 65% more sensor area and higher resolution, while retaining ARRI's characteristic color science. The Mini LF (2.3 kg) is suitable for gimbal and handheld shots, while the standard LF is optimized for tripod and dolly work. For productions using Super 35mm lenses, the Alexa Mini or Amira remain the more economical choice, as no new large-format optics are required.
Technical Specifications
Sensor & Resolution
| Property | Value |
|---|
| Sensor Type | ALEV III CMOS (Large Format) |
| Sensor Size | 36.70 × 25.54 mm |
| Resolution | 4448 × 3096 Photosites (4.5K native) |
| Photosite Size | 8.25 μm |
| Image Circle | 44.71 mm |
Exposure & Dynamic Range
| Property | Value |
|---|
| Native ISO | 800 (nominal) |
| ISO Range | 80-3200 (with filters) |
| Dynamic Range | 14+ stops |
| Color Depth | 12-bit / 16-bit |
| Format | Resolution | Max. Frame Rate | Codec |
|---|
| Open Gate | 4448 × 3096 | 90 fps | ARRIRAW / ProRes 4444 XQ |
| 16:9 | 4448 × 2502 | 90 fps | ARRIRAW / ProRes 4444 XQ |
| 2.39:1 Anamorphic | 4448 × 1862 | 150 fps | ARRIRAW / ProRes 4444 XQ |
| DCI 4K | 4096 × 2160 | 120 fps | ProRes |
Recording & Media
| Property | Value |
|---|
| Formats | ARRIRAW, ProRes LT, ProRes 422, ProRes 422 HQ, ProRes 4444, ProRes 4444 XQ |
| Storage Medium | CFast 2.0 cards (2 slots) |
| Data Rate | up to 2.5 Gbps at ARRIRAW 4.5K 90fps |
| Recording Time (1TB CFast) | ~8-10 minutes (ARRIRAW 4.5K 90fps) |
Optics & Mount
| Property | Value |
|---|
| Lens Mount | PL (PL-Mount Standard) |
| Optional | LPL (ARRI Large Positive Lock) for Large Format Optics |
| Image Circle Requirement | 44.71 mm |
| Focus Assist | Peaking, False Color, Zebras |
Physical Specifications
| Property | Value |
|---|
| Weight (Body only) | 3.85 kg |
| Weight (with Viewfinder MVF-2) | ~4.65 kg |
| Dimensions (Body) | 285 × 185 × 145 mm |
| Dimensions (with Monitor) | 320 × 240 × 180 mm |
Power Supply & Operation
| Property | Value |
|---|
| Power Supply | 14.4V Gold Mount or V-Mount batteries |
| Power Consumption | 95 W (average) |
| Operating Temperature | -20°C to +45°C |
| Storage Temperature | -40°C to +60°C |
| Relative Humidity | 15-85% (non-condensing) |
Other Specifications
| Property | Value |
|---|
| Shutter Type | Electronic Shutter (variable opening time) |
| Shutter Range | 1.8° - 358.2° |
| Frame Rate Range | 0.75 - 90 fps (Open Gate) |
| Timecode | Timecode In/Out (BNC, XLR) |
| Video Out | HD-SDI (1920 × 1080 or 1280 × 720), USB-C Monitoring |
| Monitor | Optional MVF-2 Electronic Viewfinder (1920 × 1080 OLED, 0.8x magnification) |
