Cámara Alexa Mini

Alexa Mini is a compact and lightweight camera, one of the lightest cinema cameras on the market (2.3 kg). Thanks to its cubic design, the Arri Alexa Mini offers easy handling and the possibility of multiple camera configurations. It has internal ND filters (0.6, 1.2 and 2.1) and has an interchangeable PL mount that connects directly with the new internal sensor mount – also made of titanium – to ensure a super-stable flange focal distance, even when using large lenses.

You can also configure the camera to Canon EF or B4 mount. It records up to 200 frames per second with a large dynamic range (14 stops) and the characteristic look of the Alexas. It also allows ARRIRAW recording and placing the ratio in 4: 3 formats.
Alexa Mini is a reliable solution for all types of productions being a perfect camera in different shooting situations like cranes, Steadicam or Movi, aerial planes, underwater or hand held.

Strength and agility through state-of-the-art materials

A lot of solutions have been incorporated to the design of the camera for being able to maintain the rugged build quality that characterized ARRI in a small and lightweight camera.

Which includes a highly integrated and sealed electronics, a lightweight carbon housing and a solid titanium PL mount that connects directly with the new internal sensor mount (also made by titanium) to ensure a super-stable flange focal distance, even when using large lenses. Because of its size it is very easy to transport and can facilitate a lot in shooting with confined spaces.

Alexa Mini

Versatile mounting and shooting options

The Alexa Mini offers a lot of ways and possibilities for the operator. You could operate with an on-board monitor and controlled via the user button interface on the camera body or by wireless remote control, as a normal camera with the ARRI MVF-1 multi viewfinder attached. This camera is extremely quiet at the time of operating which makes it ideal for tight shooting conditions. It is light and compact enough to be comfortably held at arm’s length in a hand rig.

It has a symmetrical design which permits filming in any orientation, including upside-down and in portrait mode, while multiple accessory points enable highly creative mounting solutions. In addition, the ALEXA Mini’s interchangeable lens mount can be replaced with any of those designed for the ARRI AMIRA, allowing the use of B4 video and EF mount stills lenses.

Uncompromised image quality for specialized shots

A great thing about the Alexa Mini is that it combines the characteristics of this unique model, its compatibility, its lightness, the different camera configuration it offers, etc, with the unparalleled image quality that has made the ARRI ALEXA system a standard for the industry. If you want to combine the Mini with any other ALEXA camera then you will have perfectly matched images, even on anamorphic productions – thanks to the 4:3 sensor and automatic de‑squeeze function.  You will also find the same workflows with options to record ProRes or uncompressed ARRIRAW either in-camera to CFast 2.0 cards or to a specially-designed external Codex recorder.

Saving time on set

Now by using an external Codex recorder which can record images streams from even four ALEXA Minis simultaneously you can make much easier specialized shots or multi-camera setups such as 360º plate shots, stop wasting extra time.
You can also avoid using a separate high-speed camera by using the ALEXA Mini which offers you the possibility of shooting with a maximum frame rate of 200 fps means it can also be used for stunning slow-motion cinematography.

Save time in post

With the ALEXA Mini the difficulties we faced in the past are eliminated. You won’t have to solve grading problems trying to match images from ALEXA´s cameras with small cameras from other manufacturers. With the ALEXA Mini all images come from the same sensor and share the same colour space than the ALEXA classic family with their famously natural colorimetry and pleasing skin tones. The ability to use CDLs and 3D LUTs in-camera for on-set colour management will also reduce time and money spent in post.

Integrated lens motor control and ND filters, perfect for gimbals and multicopters

The ergonomics of the ALEXA Mini has been created under the influence of a practical thought having in mind the new-generation brushless gimbals, multicopters and other specialized rigs. It is compact enough in the lens direction to allow the use of standard PL mount lenses even on lightweight and space-constrained rigs, such as gyro-stabilized aerial systems. Its performance for an underwater work is perfect because of its capacity of handling low-lights spaces.

Greater efficiency through integrated functions

An integrated lens motor controller allows new active lens motors to be connected directly to the titanium PL mount, so focus, iris and zoom settings can be controlled from ARRI hand units without an additional external box. It incorporates a system of wireless remote control, as a normal camera with the ARRI MVF-1 multi viewfinder attached, or you could operate it with an on-board monitor and controlled via the user button interface on the camera body.  This system allows you to control the camera with accessories of Arri or with a computer, tablet or mobile phone of last generation. Within the compatible accessories of Arri with the Alexa Mini highlights the Arri WCU-4, which in combination with the new motors C-force Plus will allow you to control camera and lenses remotely, without the need for receptors. It can also be configured via the MVF-1 electronic viewfinder just like the Arri Amira.

Optics with LDS mount such as Cooke S4 / i T2 or Zeiss Master Prime T1.3 offers metadata information which is transmitted to the camera and the WCU. This facilitates the work of the focus puller at the time of reporting the aperture, depth of field and focus ring position. The active PL mount from Arri also could feed the optical servo of lenses as the Fujinon Cabrio without power cables.
The motorized and remotely-controllable internal ND filters permit rapid responses to changing light conditions, and help keep clutter around the camera to a minimum.

Integrated ARRI Lens Data System (LDS)

ARRI’s Lens Data System® (LDS) generates highly accurate lens metadata for use on set and in post. When using an LDS lens on AMIRA’s LDS mount, information about iris, zoom position or focus is visible in the viewfinder and the files will have lens data embedded in the recorded footage. The data also allows lens mapping to pre‑marked focus rings and reduces the time and expense involved in achieving complex visual effects in post.


Compact, lightweight and self-contained, the ARRI ALEXA Mini is a versatile additional tool in the ALEXA camera range. These include highly integrated and sealed electronics, lightweight carbon housing and a solid titanium PL mount that connects directly with the new internal sensor mount.

  • Resolution : 35 mm format ARRI ALEV III CMOS
  • FPS : S16 HD : 1600 x 900 (1760 x 980)
  • ND intern : Electronic shutter, 5.0° to 356.0°
  • Exposure latitude: 4 Stops
  • Exposure index :  EI 800 base sensitivity
  • Filters  : Built-in motorized ND filters 0.6, 1.2, 2.1
  • Lens mounts  : Titanium PL mount with L-Bus connector and LDS
  • Recording media : CFast 2.0 memory cards


  • Sensor  35 mm format ARRI ALEV III CMOS with Bayer pattern color filter array
  • Active photo sites  (with surround view)
  • S16 HD: 1600 x 900 (1760 x 980)
  • HD: 2880 x 1620 (3168 x 1772)
  • 2K: 2868 x 1612 (3154 x 1764)
  • 3.2K: 3200 x 1800 (3424 x 1926)
  • 4K UHD: 3200 x 1800 (3424 x 1926)
  • 4:3 2.8K: 2880 x 2160 (3168 x 2160)
  • 2.39:1 2K Ana.: 2560 x 2145 (3424 x 2202)
  • HD Ana.: 1920 x 2160 (3424 x 2202)
  • Open Gate 3.4K: 3424 x 2202 (3424 x 2202)
  • Shutter Electronic shutter, 5.0° to 356.0°
  • 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)



This license, enabled by ALEXA Mini SUP 4.0, provides three new ProRes recording modes that access the full 4:3 sensor area and support the use of anamorphic lenses. The first mode records the highest 4:3 resolution possible, while the other two de-squeeze and re-scale the recorded images in-camera for an efficient, specialized workflow. Monitoring paths for all 4:3 modes offer SDI setups featuring dual 1.5G or 3G outputs.

ProRes 4:3 2.8K records the full 4:3 sensor area (2880 x 2160) and can be used with anamorphic or spherical lenses. It offers frame rates up to 50 fps and an optional 2x anamorphic de-squeeze for the EVF and SDI monitoring paths.

ProRes 2.39:1 2K Ana. records a 2.39:1 standard 2K format (2048 x 858), which does not require any cropping or scaling in post. Due to the in-camera scaling the data rate is reduced, allowing recording speeds up to 120 fps.

ProRes 16:9 HD Ana. is for situations where the look of anamorphic lenses is desired but the end product is full 16:9 HD without letterboxing. This mode also supports recording speeds up to 120 fps.


The ARRIRAW License Key, also enabled by ALEXA Mini SUP 4.0, allows ARRIRAW to be recorded to the ALEXA Mini’s in-camera CFast 2.0 cards by wrapping the files in an MXF container. Like ARRIRAW, the new MXF/ARRIRAW format is uncompressed, unencrypted, and contains audio and metadata. Only the packing is different, so third-party ARRIRAW processing tools such as DaVinci Resolve and Baselight have to be updated with a new SDK, which ARRI has provided for them. ARRIRAW Converter supports MXF/ARRIRAW from version 3.4, available free of charge on the ARRI website.

MXF/ARRIRAW clips do not require specially formatted CFast cards, so MXF/ARRIRAW and QuickTime/ProRes clips can be mixed on the same card.

MXF/ARRIRAW 16:9 2.8K records an area of 2880 x 1620 and supports frame rates up to 48 fps.

Internal MXF/ARRIRAW Open Gate recording

Installing both the ALEXA Mini 4:3 License Key and the ALEXA Mini ARRIRAW License Key on a camera activates the MXF/ARRIRAW Open Gate 3.4K recording modes enabled by SUP 4.0.

MXF/ARRIRAW Open Gate 3.4K has a resolution of 3424 x 2202 and a maximum recording speed of 30 fps. As with the ProRes 4:3 recording modes, an optional 2x anamorphic de-squeeze is available for all monitoring paths and a dual 1.5G or 3G SDI setup is supported.

In order to offer anamorphic ProRes productions an easy way to capture some shots in MXF/ARRIRAW, three additional Open Gate 3.4K recording modes are being introduced:

  • MXF/ARRIRAW 4:3 2.8K (OG 3.4K)
  • MXF/ARRIRAW 2.39:1 2K Ana. (OG 3.4K)
  • MXF/ARRIRAW 16:9 HD Ana. (OG 3.4K)

These modes record 3.4K Open Gate at up to 30 fps, but the monitoring paths reflect the corresponding 4:3 ProRes modes. The active image area is noted in the metadata, so postproduction tools will crop the images automatically. ARRIRAW Converter and other tools that support the new ARRIRAW SDK are able to override that information and return to the full Open Gate frame if required.

Camera type

35 mm format film-style digital camera with lightweight and compact carbon body, switchable active sensor area, support for ARRI MVF-1 viewfinder, built-in remote control capabilities via ARRI Electronic Control System and Wi-Fi, support for cforce motors, built-in motorized ND filters, interchangeable lens mounts and ARRI Lens Data System as well as Lens Data Archive.


  • Length: 185 mm/7.3″
  • Width: 125 mm/4.9″
  • Height: 140 mm/5.5″

(Camera body with PL lens mount)

  • Weight                 ~ 2.3 kg/5 lbs (camera body with titanium PL lens mount)
  • Sensor 35 mm format ARRI ALEV III CMOS with Bayer pattern color filter array

Recording formats

  • ProRes:
    • S16 HD: 1920 x 1080 (up-sampled from 1600 x 900)
    • HD: 1920 x 1080
    • 2K Cine 16:9: 2048 x 1152
    • 3.2K: 3200 x 1800
    • 4K UHD: 3840 x 2160 (up-sampled from 3.2K)
    • 4:3 2.8K: 2880 x 2160 (padded to 2944 x 2160)
  • Anamorphic ProRes formats with 2x in-camera de-squeeze:
    • HD Anamorphic: 1920 x 1080*
    • 2.39:1 2K Anamorphic: 2048 x 858*
  • MXF/ARRIRAW (in-camera recording to MXF-wrapped ARRIRAW files):
    • 2.8K 16:9: 2880 x 1620**
    • Open Gate: 3424 x 2202***
  • MXF/ARRIRAW Open Gate modes with active image area matching 4:3 ProRes modes:
    • 4:3 2.8K (OG 3.4K): 2880 x 2160 (Recording in Open Gate 3.4K)***
    • 2.39:1  Ana. (OG 3.4K): 2560 x 2145 (Recording in Open Gate 3.4K)***
    • 16:9 HD Ana. (OG 3.4K): 1920 x 2160 (Recording in Open Gate 3.4K)***
    • *) requires ALEXA Mini 4:3 License Key,
    • **) requires ALEXA Mini ARRIRAW License Key,
    • ***) requires both ALEXA Mini 4:3 and ARRIRAW Licenses Keys

Recording codec ProRes 4444XQ, 4444, 422 (HQ), 422, 422(LT), MXF/ARRIRAW

Recording frame rates

  • 16:9
    • ProRes HD 0.75 – 200 fps
    • ProRes S16 HD 0.75 – 200 fps
    • ProRes 2K 0.75 – 200 fps
    • ProRes 3.2K 0.75 – 60 fps
    • ProRes UHD 0.75 – 60 fps
    • MFX/ARRIRAW 16:9 2.8K 0.75 – 48 fps
  • 4:3
    • ProRes 4:3 2.8K 0.75 – 50 fps
  • 6:5*
    • ProRes 2:39:1 2K Ana. 0.75 – 120 fps
  • 8:9**
    • ProRes HD Ana. 0.75 – 120 fps
  • Open Gate
    • MFX/ARRIRAW 3.4K Open Gate 0.75 – 30 fps
* 4:3 cropped
** Center crop from anamorphic
(1) Minimum frame rate is always 0.75 fps
(2) The “recording resolution“ determines the number of horizontal pixels that will be recorded (the number of vertical pixels is dependent on the recording file type and sensor mode)
  • Color output
    • Import of custom 3D LUT, ASC CDL parameter
  • Adjustable image parameters
    • Knee, gamma, saturation, black gamma, saturation by       hue
  • Focus and exposure control
    • Peaking, zebra, false color, waveform
  • White balance Manual and auto white balance
  • Sound level < 20 dB(A) at standard frame rates
  • Environmental ‘-20° C to +45° C (-4° F to +113° F) @ 95% humidity max, non-    condensing splash and dust-proof through sealed electronics
  • ViewfinderMulti Viewfinder MVF-1 (OLED and LCD) with flip-out LCD      screen and military-grade connector to camera Camera Control Panel (CCP-1) LCD control panel with option to daisy-chain MVF-1
  • Control interface Soft buttons and OSD on SDI output, integration of Transvideo Starlite HD5-ARRI touch interface WCU-4 hand-unit with control over operational parameters.
  • ARRI lens motor control Built-in white coded radio interface for ARRI lens and camera remote control LBUS motor output for daisy-chainable cforce lens control motors Lens Data Archive
  • Wi-Fi remote control Built-in Wi-Fi interface and web-based remote control from phones, tablets and laptops
  • Custom control  Optional GPIO interface for integration with custom control interfaces
  • Power input   Lemo 8-pin, 10.5-34 V DC
  • Video outputs  2x HD-SDI out 1.5G and 3G: uncompressed HD video with embedded audio and metadata, 6G SDI in UHD and 3.2K recording modes.
  • Inputs  SDI-Genlock (optional activation through ARRI Service), Timecode (in and output)
  • Other interfaces USB 2.0 (for user sets, looks etc.)

Ethernet for service and web remote control

EXT accessory interface w. RS pin and unregulated power output (outputs battery voltage)

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