• ARRI ALEXA Mini Camera Body
  • ARRI Titanium PL LDS Mount with LBUS Connector
  • ARRI EF Lens Mount
  • ARRI MVF-1 ALEXA Mini Viewfinder
  • ARRI Viewfinder Cable 75cm for ALEXA Mini
  • ARRI KC-50 Straight Power Cable for ALEXA Mini (6.5’)
  • AbelCine 220W 24v Power Supply

THE JOURNEY: Behind the scenes captured with ALEXA MINI


Camera Type
35 format film-style digital camera with lightweight and compact carbon body, 4:3/16:9 switchable active sensor area, OLED Eyepiece, Wi-Fi, support for cforce motors, built-in motorized ND filters, ARRI Lens Data System and interchangeable Titanium PL/EF lens mounts

35mm format ARRI ALEV III CMOS with Bayer pattern color filter array

Electronic shutter, 5.0° to 356.0°

Exposure index
EI 800 base sensitivity

Exposure latitude
14+ stops over the entire sensitivity range from EI 160 to EI 3200 as measured with the ARRI Dynamic Range Test Chart (DRTC-1)

Built-in motorized FSND filters 0, 0.6, 1.2, 2.1
Full Spectrum Neutral Density filters prevents artifacts from infrared wavelengths and the need for additional IR filters.

Stop Motion/Interval* recording

* The maximum duration of the interval recording is 23:59:59. The maximum number of frames that are captured by the camera for each burst is 2000.

Color output
Rec 709 (ARRI 709, ARRI classic 709, LCC 709)
Custom look
Log C

Look control
Import of custom 3D LUT, ASC CDL parameter

Focus and exposure control
Peaking, zebra(2x), false color, waveform

-20° C to +45° C (-4° F to +113° F)

Inputs and outputs
SDI 1 & SDI 2 – 2x HD-SDI out 1.5G and 3G – uncompressed HD video with embedded audio and metadata
BAT – Lemo 8-pin, 10.5-34 V DC Power input
EXT – Lemo 7-pin, External accessory interface w/ RS pin and unregulated power output
ETH – Lemo 10-pin, Ethernet for service and web remote control
TC – Lemo 5-pin, Timecode connector
White radio antenna – module for lens control (WCU-4)
USB 2.0 – for user sets, looks etc.
AUDIO – Lemo 5-pin, 2-channel line level audio input, Linear PCM, 24 bit 48kHz


Aspect ratio | Recording formats | Resolution | Photo sites | With surround view
16:9 | ProRes HD | 1920×1080 | 2880 x 1620  | 3168×1772
16:9 | ProRes 2K | 2048×1152 | 2868×1612 | 3154×1764
16:9 | ProRes 3.2K | 3200×1800 | 3200×1800 | 3424×1926
16:9 | ProRes 4K UHD | 3840×2160 | 3200×1800 | 3424×1926

Recording codec | Color Coding | Bit rate*
ProRes 422 LT | 10 bit YCbCr | 90 Mb/s
ProRes 422 | 10 bit YCbCr | 125 Mb/s
ProRes 422 HQ | 10 bit YCbCr | 185 Mb/s
ProRes 4444 | 12 bit RGB | 280 Mb/s
ProRes 4444XQ | 12 bit RGB | 420 Mb/s
* At 24fps, 1920×1080

Maximum frame rates
200fps | 2K/HD/S16HD | ProRes 4444/422 HQ/422/422 LT
120fps | 2K/HD/S16HD | ProRes 4444 XQ
60fps | 4K UHD/3.2K | ProRes 4444/422 HQ/422/422 LT
30fps | 4K UHD/3.2K | ProRes 4444 XQ

Pre-recording maximum duration
20s | ProRes 422/LT/HQ | HD
13s | ProRes 4444 | HD
9s | ProRes 4444 XQ | HD
11s | ProRes 422/LT/HQ | 4K UHD
3.2s | ProRes 4444 | 4K UHD
2.1s | ProRes 4444 XQ | 4K UHD


Dynamic range:

EI | Shadows | Highlights
160 | -9.0 | +5.0
200 | -8.7 | +5.3
400 | -7.7 | +6.3
800 | -6.6 | +7.4
1600 | -5.6 | +8.4
3200 | -4.6 | +9.4

False color mode:

Color | Signal level | Luminance range 
Red | 100 to 99% | White clipping
Yellow | 99 to 97% | Just below white clipping
Pink | 56 to 52% | One stop over medium gray
Green | 42 to 38% | 18% medium gray
Blue | 4.0 to 2.5% | Just above black clipping
Purple | 2.5 to 0.0% | Black clipping


MENU > Monitoring > EVF/Monitor > Monitor overlays
MENU > Monitoring > EVF/Monitor > EVF overlays
MENU > Monitoring > SDI > SDI processing > Overlays


Look and gamma settings:

ARRI 709: Renders the video image according to the ITU.R-BT709 standard, for most
accurate color reproduction on standard broadcast monitors.
ALEXA Classic 709: Matches the color reproduction of ALEXA Mini to the ARRI ALEXA.
Commercial: Renders the image brighter for smoother skin tones.
Landscape: Applies a steeper contrast curve to the image.
LCC 709: Low Contrast Curve look that keeps more details in highlights for color correction purposes.
Vibrant: Boosts color saturation except for red and yellow (skintone protection).

Look > Edit > Set Param.

Slope, Offset, Power, Saturation affect ASC CDL images under Log C.
Black Gamma, Gamma, Knee, Saturation, Saturation by Hue affect VIDEO images.

  • Slope: The linear section of the Log C curve is equivalent to the gamma of a negative film stock. The Log C curve has a default gamma of approximately 0.51 (adjustable via slope parameter).
    A slope value of 1.2 will have a similar effect as using negative stock with a gamma of 0.6 (= 1.2 * 0.5). A value below 1.0 will lower the gamma accordingly.
  • Offset: This most intuitive CDL parameter has a similar effect as increasing the exposure index on the camera. If you are familiar with the motion picture print film process, it’s the same as printer lights.
  • Power: Via power you can adjust the mid tones, similar to the Gamma parameter in video color grading. A power value below 1.0 will increase, a value above 1.0 willl decrease the mid tone brightness.
  • (Log) Saturation: This parameter affects the saturation of all color components in the Log domain. A value of 1.0 represents the default saturation.
  • Knee: The knee parameter controls the transition of mid-tones into highlights. Values below 0.5 (default) produce harder highlights, higher values soften them. Knee is applied to all channels equally (master control). It has no effect on the mid gray level.
  • Black gamma: The black gamma controls the shadow detail in the image. Values below 0.5 (default) bring down, higher values brighten the blacks. Black gamma is applied as master control. It only affects the mid gray level for very high values.
  • Gamma: This setting can be used to brighten or darken the mid tones, while leaving the black and white level unchanged. Values below 1.0 (default) will darken; higher values will brighten the image.
  • (Video) Saturation: The VLP set also includes a saturation control, with a similar effect as the ASC saturation control. A value of 1.0 represents the default saturation.
  • Saturation by Hue: This parameter set allows you to control the saturation for six color vectors (red, yellow, green, cyan, blue, magenta) independently.


  • Never touch the sensor.
  • Do not leave the antenna connector open during operation or transport. The radio module inside could be damaged by electrostatic discharge.
  • Never connect the EVF cable to any other connector on the camera than the EVF connector. This may cause permanent damage.
  • Do not cover the viewfinder proximity sensor. Please note that covering the proximity sensor located within the eyepiece with tape or similar, can cause an irreversible burn-in on the OLED display.
  • Card ejection during erasure, or interrupting the camera power supply, may render the card unusable.
  • The image stabilizer of EF lenses is currently not supported.
  • The frame rates for sensor and project rate must match to enable audio recording.
  • ALEXA Mini cannot record more than 400 clips on a single card. Please note that the camera gives no further information but just refuses to record more clips.
  • File names longer than 28 characters (excluding extension) cannot be loaded by ALEXA Mini. Files with longer names will not be listed and cannot be used.
  • Only a limited number of camera files can be supplied on a USB stick: User Setups: 20; Look Files: 100; Frame lines: 100; License files: 100; SUPs: 20.
  • ALEXA Mini creates a file named “*_BIN.bin” (i.e. A001R3VJ_BIN.bin) when recording. This is used for internal data management; you may ignore this file.
  • The framegrab to USB function is only available when the camera is in standby mode. Framegrabs are always stored in HD 1920×1080 resolution and use the gamma setting of the SDI output. Framegrabs do not work in 4:3 2.8K recording mode.

ARRI ALEXA Mini Web Remote Access via WiFi