ALEXA Mini LF: The Freedom to Choose Your Desired Format
ALEXA Mini LF: The Freedom to Choose Your Desired Format

ALEXA Mini LF: The Freedom to Choose Your Desired Format

2021-09-06
5 mins read

With the availability of the new ALEXA Mini LF SUP 7.1, this would be a smart opportunity to overview and elaborate on what the ARRI ALEXA Mini LF has to offer to large format shooters, as well as S35 enthusiasts for various deliverables (TV, theaters, features, and commercials). 

ARRI ALEXA Mini LF: Multi-format cinema camera
ARRI ALEXA Mini LF: Multi-format cinema camera

ARRI ALEXA Mini LF SUP 7: S35 amplified

The Mini LF SUP 7.0 offered many new formats dedicated to Super 35 shooters and their demands. ARRI wants the Mini LF to utilize its large sensor in order to produce adaptive S35 options for productions that do not necessarily need all that large real estate of the sensor. That’s logical for many reasons. For instance, there’re TV productions and projects that aim for S35 imagery. Thus, smaller file size can be a big difference here, since it facilitates workflow.

The ARRI ALEXA Mini LF
The ARRI ALEXA Mini LF

SUP 7.1 for large format 2X anamorphic imagery

ARRI ALEXA Mini LF SUP 7.1 that was officially released a few days ago, leverages the potential of the ALEV III for 2X anamorphic shooting. The new recording format 2.8K LF 1:1 – 2.8K is available in ARRIRAW and Apple ProRes and is tailor-made for shooting with 2x anamorphic lenses for a target deliverable of 2:1, fulfilling 4K UHD mandates. 

ARRI SUP 7.1
ARRI SUP 7.1

Mini LF: The flavors and their usages

Now it’s time, to sum up, all the new recording formats (SUP 7.0 and 7.1) by elaborating on their goals through ARRI’s eye.

2.8K LF 1:1 -2.8K

This format was designed for shooting with 2X anamorphic lenses for target deliverable of 2:1, fulfilling 4K UHD mandates. This format is available in ARRIRAW and Apple ProRes.

  • Sensor photosites: 2880X2880
  • Recorded file pixels: 2880X2880
  • Maximum frame rate: 60FPS

Usage: To get the stunning 2X anamorphic look (by using 2X anamorphic lenses) with the large format characteristics.

ARRI Mini LF SUP 7.1: The new 2.8K LF 1:1 format for 2X LF anamorphic
ARRI Mini LF SUP 7.1: The new 2.8K LF 1:1 format for 2X LF anamorphic

This format was designed for shooting with 2X anamorphic lenses for target deliverable of 2:1, fulfilling 4K UHD mandates.

ARRI

MXF/ARRIRAW 3.4K S35 3:2-3.4K

According to ARRI, this is the most flexible format for feature films, drama series, and commercials in Super 35. This format is covered by most S35 lenses and has enough resolution for many post-production workflows.

  • Sensor photosites: 3424X2202
  • Recorded file pixels: 3424X2202
  • Maximum frame rates: 60FPS

Usage: High-end S35 projects (commercials, TV series, and feature films).

ARRI Mini LF: ProRes 3.4K S35 3:2-3.4K
ARRI Mini LF: ProRes 3.4K S35 3:2-3.4K

The most flexible format for feature films, drama series, and commercials in Super 35.

ARRI

MXF/ARRIRAW 3.2K S35 16:9-3.2K

Very popular for drama series and commercials. This format is ideal for shooting with spherical S35 lenses for a 16:9 targeted deliverable.

  • Sensor photosites: 3200X1800
  • Recording file pixels: 3200X1800
  • Maximum frame rate: 75FPS

Usage: The same as the previous format, but when a 16:9 ratio is desirable. Furthermore, you’ll get more FPS when shooting this format.

ARRI Mini LF: ProRes 3.2K S35 16:9-3.2K
ARRI Mini LF: ProRes 3.2K S35 16:9-3.2K

This format is ideal for shooting with spherical S35 lenses for a 16:9 targeted deliverable.

ARRI

MXF/Apple ProRes 2.8K S35 4:3-2.8K

Designed for shooting with Anamorphic S35 lenses for a target deliverable of 2.39:1 or for shooting with spherical S35 lenses for a target deliverable of 1.85:1 with extra room above and below the image.

  • Sensor photosites: 2880X2160
  • Recorded file pixels: 2880X2160
  • Maximum frame rate: 75

Usage: Either spherical or anamorphic, it’s a great format for utilizing S35 glass, and still remains high resolution that can be upscaled to 4K. Also, HFR is still possible.

ARRI Mini LF: ProRes 2.8K S35 4:3-2.8K
ARRI Mini LF: ProRes 2.8K S35 4:3-2.8K

Either spherical or anamorphic, it’s a great format for utilizing S35 glass.

MXF/Apple ProRes 2.8K S35 16:9-HD

ARRI states that this is the format of choice if you want the quickest way to an HD deliverable with a super low data rate and the assurance that the sensor area is covered by any S35 glass. The format was established with the ALEXA Classic EV in 2010 and is still very popular. 

  • Sensor photosites: 2880X1620
  • Recorded file pixels: 1920X1080
  • Maximum frame rate: 100FPS

Usage: HD applications. HFR is optional.

ARRI Mini LF: ProRes 2.8K LF 16:9-HD
ARRI Mini LF: ProRes 2.8K S35 16:9-HD – Note that ARRI made a mistake in this slide (LF instead of S35)

The format was established with the ALEXA Classic EV in 2010 and is still very popular.

ARRI

MXF/Apple ProRes 4.3K LF 16:9-UDH

By using almost the entire width of the LF sensor, this format delivers the unique large-format look with a drastically reduced budget-friendly lower data rate, since down-sampling to your target deliverable 16:9 UDH is done in-camera. ARRI adds that this format is also Netflix-approved.

  • Sensor photosites: 4320X2430
  • Recorded file pixels: 3840X2160
  • Maximum frame rate: 48FPS

Usage: Getting the large format look with a reduced data rate.

ARRI Mini LF: ProRes 4.3K LF 16:9-UDH
ARRI Mini LF: ProRes 4.3K LF 16:9-UDH

This format delivers the unique large-format look with a drastically reduced budget-friendly lower data rate since down-sampling to your target deliverable 16:9 UDH is done in-camera.

ARRI

MXF/Apple ProRes 4.3K LF 16:9-HD

The same as above, but this time the recorded file pixels are reduced even further, to 16:9 HD.

  • Sensor photosites: 4320X2430
  • Reduced file pixels: 1920X1080
  • Maximum frame rate: 75FPS

Usage: Getting the large format look into Full HD applications.

ARRI Mini LF: ProRes 4.3K LF 16:9-HD
ARRI Mini LF: ProRes 4.3K LF 16:9-HD

Shooting large format without eating memory

ARRI training and certification

It’s very intriguing to explore all those formats and possibilities in the digital age. Basically, the camera has a sensor, and the utilization rate of that sensor, depends on the goal (artistic and business) of the camera manufacturer, derived from the market’s demand. Firmware updates can boost specs by enhancing and expanding shooting options as ARRI does. Moreover, the camera operators must know those possibilities in order to utilize them correctly according to production requests. Obviously, it’s not enough just to change the setting, but to be well familiar with the correct shooting style, paired lenses, and more. For instance, the Mini LF allows you to enjoy the two worlds (large format and Super 35). Thus, when operating a camera like the Mini LF, you should own a sharp knowledge of the ARRI camera system, and the large format camera system. For those who are eager to get well educated about the ecosystem, ARRI offers certified courses. Those courses are very technical, with a lot of details, and require some dedication. For those who are interested, here’re ARRI’s main courses:

  1. ARRI Certified Training for Camera Systems (Read our review
  2. ARRI Certified Online Training for Large-Format Camera System (Read our review)

We’ve reviewed both courses, so feel free to read our reviews before taking them.

The ARRI Certified Training for Camera Systems. MZed online course
The ARRI Certified Training for Camera Systems. MZed online course

Final thoughts

It’s nice seeing how the utilized sensor’s real estate can be manipulated due to production’s demand. Also, SUP 7.0 teaches us that ARRI believes in the S35 format as a traditional format that should be preserved. This leads us to the question, when will the forthcoming ALEXA S35 4K will be released?

Product List

Here’re the products mentioned in the article, and the links to purchase them from authorized dealers. 

  • ARRI ALEXA Mini LF
  • ARRI ALEXA Mini Body with 4:3 and ARRIRAW
  • ARRI Certified Online Training for Large-Format Camera System
  • ARRI Certified Training for Camera Systems

Yossy is a filmmaker who specializes mainly in action sports cinematography. Yossy also lectures about the art of independent filmmaking in leading educational institutes, academic programs, and festivals, and his independent films have garnered international awards and recognition.
Yossy is the founder of Y.M.Cinema Magazine.

Leave a Reply

Your email address will not be published.

Get the best of filmmaking!

Subscribe to Y.M.Cinema Magazine to get the latest news and insights on cinematography and filmmaking!

Get the best of filmmaking!

Subscribe to Y.M.Cinema Magazine to get the latest news and insights on cinematography and filmmaking!

Canon EOS R3’s First “Hands-On” Video: Is There Something New?
Previous Story

Canon EOS R3’s First “Hands-On” Video: Is There Something New?

Samsung Presents 16K Resolution Sensor for 8K Mobile Videography
Next Story

Samsung Presents 16K Resolution Sensor for 8K Mobile Videography

Latest from Educate

The Advantages of Underwater Drone.

The Advantages of Underwater Drone

In this fascinating case study, the advantages of underwater drones are demonstrated. Wildlife filmmaker Antoine Drancey has been utilizing the Boxfish Luna underwater drone to film the extraordinary stunning deep underwater world.…
Dune Part Two: One More Fascinating Lens

Dune Part Two: One More Fascinating Lens

Continuing our previous article about the tools behind Dune Part Two, we forgot to mention one more important glass, which would be the IronGlass x VLFV MKII rehoused Soviet lenses. This fascinating…
Dune Part Two: Five Interesting Cinematography Facts

Dune Part Two: Five Interesting Cinematography Facts

ARRI Rental, the company that has extensively supported the moviemaking masterpiece, Dune Part Two, released an educating article regarding the cinematography behind the film. We’ve gathered a few interesting facts. Cameras, lenses,…
Go toTop

Don't Miss

RED. The End?

RED. The End?

As you may have heard, Nikon acquired 100% of the outstanding membership interests of RED.com. This is a move nobody has anticipated. In
Sony BURANO is Netflix Approved

Sony BURANO is Netflix Approved

Netflix has just approved the new Sony CineAlta BURANO. It was pretty fast approval since the camera started to ship out on February