ALEXA Mini | Camera Systems | ARRI

https://www.arri.com/en/camera-systems/cameras/legacy-camera-systems/alexa-mini

Compact, lightweight, and self-contained - ARRI ALEXA Mini is the small and versatile allrounder in the ARRI camera family.

The symmetrical design permits filming in any orientation, including upside-down and in portrait mode, while multiple accessory points enable highly creative mounting solutions. In addition, ALEXA Mini comes with a series of interchangeable lens mount, allowing the use of B4 video, EF mount stills lenses, or with the even ARRI Signature Primes with the LPL mount for ALEXA Mini.

Credits

Joker

The Irishman

Aladdin

Jumanji: The next Level

Knives Out

Glass

Rocketman

Fast & Furios: Hobbs & Shaw

Les Miserables

Features

Lightweight body with sturdy design

Stable in harsh environments from -20° to +45°C / -4° to +113°F
Sealed electronics
Non-condensing splash and dust-proof
Built-in motorized FSND filters 0.6, 1.2, 2.1

Breathtaking image quality

35 mm format film-style digital camera
Natural skin tones
Recording up to 200fps
High Dynamic Range with 14+ stops of exposure latitude
Optional ARRIRAW and 4:3 licenses

More than just a camera

Accompanied by a wide range of mechanical and electronic accessories for every use case
Wireless connectivities via built-in white coded radio and WiFi interfaces
Easy, rapid, and tool-less transitions between configurations
Every setup can be adapted individually

Huge variety of lens options

Rapidly interchangeable lens mounts
PL or LPL-Mount for cine-style lenses, including those compatible with the ARRI Lens Data System
B4 lens mount permits the use of 2/3” video-style B4 lenses
EF lens mount provides compatibility with a wide range of stills photography lenses

EXT SYNC mode

For 360° VR, 3D, and VFX applications
Synchronizing up to 15 ALEXA Minis with one master ALEXA Mini
Permitting the entire multicamera setup to be operated as if it was one camera

ARRI Look Library support

87 predefined creative color gradings, each in three intensities
Makes on-set look management available to productions of all budgets
Helps to save time on set
Additionally, all looks can be used as a basic to create new color gradings
Available in the ARRI License Shop

Find more information here

Lightweight body with sturdy design

Stable in harsh environments from -20° to +45°C / -4° to +113°F
Sealed electronics
Non-condensing splash and dust-proof
Built-in motorized FSND filters 0.6, 1.2, 2.1

Breathtaking image quality

35 mm format film-style digital camera
Natural skin tones
Recording up to 200fps
High Dynamic Range with 14+ stops of exposure latitude
Optional ARRIRAW and 4:3 licenses

More than just a camera

Accompanied by a wide range of mechanical and electronic accessories for every use case
Wireless connectivities via built-in white coded radio and WiFi interfaces
Easy, rapid, and tool-less transitions between configurations
Every setup can be adapted individually

Huge variety of lens options

Rapidly interchangeable lens mounts
PL or LPL-Mount for cine-style lenses, including those compatible with the ARRI Lens Data System
B4 lens mount permits the use of 2/3” video-style B4 lenses
EF lens mount provides compatibility with a wide range of stills photography lenses

EXT SYNC mode

For 360° VR, 3D, and VFX applications
Synchronizing up to 15 ALEXA Minis with one master ALEXA Mini
Permitting the entire multicamera setup to be operated as if it was one camera

ARRI Look Library support

87 predefined creative color gradings, each in three intensities
Makes on-set look management available to productions of all budgets
Helps to save time on set
Additionally, all looks can be used as a basic to create new color gradings
Available in the ARRI License Shop

Find more information here

Lightweight body with sturdy design

Stable in harsh environments from -20° to +45°C / -4° to +113°F
Sealed electronics
Non-condensing splash and dust-proof
Built-in motorized FSND filters 0.6, 1.2, 2.1

Breathtaking image quality

35 mm format film-style digital camera
Natural skin tones
Recording up to 200fps
High Dynamic Range with 14+ stops of exposure latitude
Optional ARRIRAW and 4:3 licenses

More than just a camera

Accompanied by a wide range of mechanical and electronic accessories for every use case
Wireless connectivities via built-in white coded radio and WiFi interfaces
Easy, rapid, and tool-less transitions between configurations
Every setup can be adapted individually

Huge variety of lens options

Rapidly interchangeable lens mounts
PL or LPL-Mount for cine-style lenses, including those compatible with the ARRI Lens Data System
B4 lens mount permits the use of 2/3” video-style B4 lenses
EF lens mount provides compatibility with a wide range of stills photography lenses

EXT SYNC mode

For 360° VR, 3D, and VFX applications
Synchronizing up to 15 ALEXA Minis with one master ALEXA Mini
Permitting the entire multicamera setup to be operated as if it was one camera

ARRI Look Library support

87 predefined creative color gradings, each in three intensities
Makes on-set look management available to productions of all budgets
Helps to save time on set
Additionally, all looks can be used as a basic to create new color gradings
Available in the ARRI License Shop

Find more information here

Small and Excellent

An ALEXA Mini can be operated in number of ways: by wireless remote control, as an A-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.

Designed with new-generation brushless gimbals, multicopters and other specialized rigs in mind, ALEXA Mini is light enough to be comfortably held at arm’s length in a hand rig, while its compact size also makes it ideal for tight shooting conditions, as well as underwater, aerial, car, action, and 3D shoots.

With an ALEXA Mini you can literally shoot everywhere with the best image quality.

ALEXA Mini Studio Set

The compact and lightweight ALEXA Mini is a highly versatile tool on set. In some productions it is used as a second or third camera, while in others it is the main camera throughout a shoot. As a result, it is frequently moved from one configuration to another. Any time savings that can be made during these transitions will have a big impact on the daily shooting schedule.

Therefore, ARRI has developed a studio set for ALEXA Mini. It's core is the ARRI Compact Bridge Plate CBP-1, a base plate with integrated sliding bridge plate and shoulder pad. This allows for rapid, tool-less transitions between configurations - for example from TRINITY, MAXIMA, or Steadicam stabilizers to tripod heads or an operator’s shoulder.

The Rear Accessory Bracket RAB-1 offers flexible attachment options for the Power Splitting Box Mk II, a power distribution unit available in Gold Mount and V-Mount versions, while the Side Accessory Bracket SAB-1 provides a simple interface for mounting accessories towards the rear of the camera. Many previously released ARRI camera accessories for the ALEXA Mini are fully compatible with the studio set.

Quotes

Ultimately, for me owning an ALEXA Mini wasn't a money-making decision but it was about investing in myself and my career. It was definitely a big investment for me but it is worth it as it gives me access to, in my opinion, the best image out there.

DP Michael Latham (Known for: Strange Colours, Ukraine is not a Brothel, Island of the Hungry Ghosts and many more)

As soon as I talked to the director about the look and the technical side of the TVC, it was clear that we had to use the ALEXA Mini. We had to switch through multiple setups along the shooting days from handheld to quick and subtle tracks on the Movi PRO and Movi XL on the tracking vehicle. Since the Mini is so versatile and easy to rig it was the perfect fit allowing us to shoot more and wait less.

DP Žiga Zupačič (Known for: Biological Clock, What About the Baby, In the French Style and many more)

We used ALEXA Mini for aerial shots and gimbal work and the rest of film was shot on ALEXA SXT. Since the ALEXA cameras have the same type of sensor and we used the same lenses, the style was uniform, even though we used two different camera types. We shot the film in the remote city of Haikou which meant it would have been very hard to get another camera body if anything went wrong. The reliability of ARRI cameras was outstanding and indeed a relief.

DP Max Wang (Known for: The Girl from the Naked Eye, Animal World, Fist of the Warrior and many more)

The ALEXA Mini was very nice in regard to size and weight, very comfortable. The feeling that we wanted to get for the film was documentary style, kind of run-and-gun, and for that we needed a very light camera. The size of the ALEXA Mini gave us the freedom to move around easier. With handheld you can move around with the actor and let him be free. It changes the entire attitude of filmmaking, and it gives the actors more of a natural feeling of being in the scene.

DP César Charlone ABC (Known for: Cidade de Deus, Die Stadt der Blinden, The Constant Gardener and many more)

The size of ALEXA Mini is a big bonus, it allowed us to shoot lighter and faster. We had a lot of shoulder-mounted shots and there were caves that only allowed two people to squat in; this would have been very hard for a big camera. We used two ALEXA Minis also for the scenes where we were climbing mountains and also for the multicam shots of the action scenes. The camera really shined when we shot the exterior scenes. There were a lot of narrow places, including the shots in the forest, and ALEXA Mini was perfect for the job. I also think the overall stability of ARRI is superb, there’s no problem using an ALEXA mini as an A cam.

DP He Shan (Known for: Nirvana, Wrath of Silence, Deep in the Heart and many more)

Ultimately, for me owning an ALEXA Mini wasn't a money-making decision but it was about investing in myself and my career. It was definitely a big investment for me but it is worth it as it gives me access to, in my opinion, the best image out there.

DP Michael Latham (Known for: Strange Colours, Ukraine is not a Brothel, Island of the Hungry Ghosts and many more)

As soon as I talked to the director about the look and the technical side of the TVC, it was clear that we had to use the ALEXA Mini. We had to switch through multiple setups along the shooting days from handheld to quick and subtle tracks on the Movi PRO and Movi XL on the tracking vehicle. Since the Mini is so versatile and easy to rig it was the perfect fit allowing us to shoot more and wait less.

DP Žiga Zupačič (Known for: Biological Clock, What About the Baby, In the French Style and many more)

We used ALEXA Mini for aerial shots and gimbal work and the rest of film was shot on ALEXA SXT. Since the ALEXA cameras have the same type of sensor and we used the same lenses, the style was uniform, even though we used two different camera types. We shot the film in the remote city of Haikou which meant it would have been very hard to get another camera body if anything went wrong. The reliability of ARRI cameras was outstanding and indeed a relief.

DP Max Wang (Known for: The Girl from the Naked Eye, Animal World, Fist of the Warrior and many more)

The ALEXA Mini was very nice in regard to size and weight, very comfortable. The feeling that we wanted to get for the film was documentary style, kind of run-and-gun, and for that we needed a very light camera. The size of the ALEXA Mini gave us the freedom to move around easier. With handheld you can move around with the actor and let him be free. It changes the entire attitude of filmmaking, and it gives the actors more of a natural feeling of being in the scene.

DP César Charlone ABC (Known for: Cidade de Deus, Die Stadt der Blinden, The Constant Gardener and many more)

The size of ALEXA Mini is a big bonus, it allowed us to shoot lighter and faster. We had a lot of shoulder-mounted shots and there were caves that only allowed two people to squat in; this would have been very hard for a big camera. We used two ALEXA Minis also for the scenes where we were climbing mountains and also for the multicam shots of the action scenes. The camera really shined when we shot the exterior scenes. There were a lot of narrow places, including the shots in the forest, and ALEXA Mini was perfect for the job. I also think the overall stability of ARRI is superb, there’s no problem using an ALEXA mini as an A cam.

DP He Shan (Known for: Nirvana, Wrath of Silence, Deep in the Heart and many more)

Ultimately, for me owning an ALEXA Mini wasn't a money-making decision but it was about investing in myself and my career. It was definitely a big investment for me but it is worth it as it gives me access to, in my opinion, the best image out there.

DP Michael Latham (Known for: Strange Colours, Ukraine is not a Brothel, Island of the Hungry Ghosts and many more)

As soon as I talked to the director about the look and the technical side of the TVC, it was clear that we had to use the ALEXA Mini. We had to switch through multiple setups along the shooting days from handheld to quick and subtle tracks on the Movi PRO and Movi XL on the tracking vehicle. Since the Mini is so versatile and easy to rig it was the perfect fit allowing us to shoot more and wait less.

DP Žiga Zupačič (Known for: Biological Clock, What About the Baby, In the French Style and many more)

We used ALEXA Mini for aerial shots and gimbal work and the rest of film was shot on ALEXA SXT. Since the ALEXA cameras have the same type of sensor and we used the same lenses, the style was uniform, even though we used two different camera types. We shot the film in the remote city of Haikou which meant it would have been very hard to get another camera body if anything went wrong. The reliability of ARRI cameras was outstanding and indeed a relief.

DP Max Wang (Known for: The Girl from the Naked Eye, Animal World, Fist of the Warrior and many more)

The ALEXA Mini was very nice in regard to size and weight, very comfortable. The feeling that we wanted to get for the film was documentary style, kind of run-and-gun, and for that we needed a very light camera. The size of the ALEXA Mini gave us the freedom to move around easier. With handheld you can move around with the actor and let him be free. It changes the entire attitude of filmmaking, and it gives the actors more of a natural feeling of being in the scene.

DP César Charlone ABC (Known for: Cidade de Deus, Die Stadt der Blinden, The Constant Gardener and many more)

The size of ALEXA Mini is a big bonus, it allowed us to shoot lighter and faster. We had a lot of shoulder-mounted shots and there were caves that only allowed two people to squat in; this would have been very hard for a big camera. We used two ALEXA Minis also for the scenes where we were climbing mountains and also for the multicam shots of the action scenes. The camera really shined when we shot the exterior scenes. There were a lot of narrow places, including the shots in the forest, and ALEXA Mini was perfect for the job. I also think the overall stability of ARRI is superb, there’s no problem using an ALEXA mini as an A cam.

DP He Shan (Known for: Nirvana, Wrath of Silence, Deep in the Heart and many more)

News & Updates

Feb. 18, 2020 DP Giorgi Shvelidze on ARRI’s ALEXA: “Can’t imagine working with any different camera” Since the beginning of his career, award winning DP Giorgi Shvelidze, from the country of Georgia, has relied on ARRI equipment. In this interview, he talks about his most recent project: an interactive commercial video, shot on ALEXA XT and ALEXA Mini cameras with Master Anamorphic lenses.

May 23, 2019 Why DP Federico Annicchiarico relied on ARRI equipment for “Rock ‘n’ Roll Robot” The Italian feature “Rock ‘n’ Roll Robot” was shot with the ALEXA Mini camera, Ultra Primes lenses, and lighting equipment from ARRI. DP Federico Annicchiarico AIC-Imago and his team talk about the filming.

Set components

ARRI EF Mount (LBUS)

Gold Mount Power Splitting Box Mk II

Gold Mount Adapter Plate MkII

V-mount Power Splitting Box MkII

V-Mount Adapter Plate Mk II

EXT-RS Adapter ALEXA Mini

Transvideo StarliteHD5-ARRI OLED Monitor

Hi-5 Hand Unit Basic Set

Rod Mounting Bracket RMB-6

Rod Mounting Bracket RMB-6 set

ALEXA Mini Viewfinder MVF-1

Side Accessory Bracket SAB-1

Compact Bridge Plate CBP-1 19mm

Rear Accessory Bracket RAB-1

Stabilizer Adapter Mount SAM-2 for ALEXA Mini

Mini Adapter Plate MAP-1

Bridge Plate Adapter BPA-4

Mini Side Bracket MSB-1

Mini Side Bracket MSB-2

Mini Viewfinder Bracket MVB-1

Battery Adapter Plate BAP-1

Shoulder Pad CSP-1

Low Bracket for CSP-1

Broadcast Plate for ALEXA Mini/ Mini LF

Single Support Rod 90mm, 3.5in, Ø19mm

Single Support Rod 150mm, 5.9in, Ø19mm

Stabilizer Plate for CBP

Handle Extension Block, HEB-1

Wetsuit for ALEXA Mini

Cable StarliteHD5-ARRI Ext angled

Cable StarliteHD5-ARRI Ext straight

V-mount battery plate with hot-swap buffer

Gold-mount battery plate with hot-swap buffer

Cable Smart APU ALEXA Mini 0.80m (2.6")

Battery Adapter Back High Load BAB-HV V-mount for ALEXA LF

EXT-RS Adapter ALEXA Mini

Rod Mounting Bracket RMB-3

Leverage the Full Power

Three ALEXA Mini license upgrades are available, allowing users to get the most out of the camera’s 4:3 ALEV 3 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 allows for 2.8K 16:9 ARRIRAW recording. Open Gate ARRIRAW recording is possible with cameras that have both license keys installed.
The ARRI Look Library License Key offers 87 predefined creative color gradings, each in three intensities.

Technical Data

Model

ALEXA Mini

Sensor Type

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

Sensor Maximum Number of Photosites and Size

3424 x 2202

28.25 x 18.17 mm / 1.112 x 0.715"

⌀ 33.59 mm / 1.322"

Sensor Frame Rates

0.75 - 200 fps

Weight