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The ARRI ALEXA Plus High Speed shares ALEXAs image performance, simplicity of operation, reliability in extreme environments and versatility of workflow of the original ALEXA EV.

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The ARRI ALEXA Plus High Speed shares ALEXAs image performance, simplicity of operation, reliability in extreme environments and versatility of workflow of the original ALEXA EV with integrated wireless remote control, the ARRI Lens Data System (LDS), additional outputs, lens synchronization for 3D, and built-in position and motion sensors
The lens mount of the Plus model incorporates LDS contacts, allowing lens data and depth of field to be displayed in the viewfinder or on monitors, and making speed/iris ramps easier. Lens metadata can be recorded using ProRes, HD-SDI or ARRIRAW. An advanced electronics side cover permits real-time wired or wireless remote control of camera REC/STOP and lens functions like focus and aperture, using either ARRI hand controllers such as the Wireless Compact Unit (WCU-3) or ccmotions modular evolution system.

Pair the ARRI ALEXA Plus high speed with our ARRI WCU for the ultimate control. Use on jibs, underwater housings, and camera car. All our ALEXAs have high speed licenses for recording up to 120 frames per second.

Film-like, organic look
Extended, clean highlights
Extremely low noise floor
Natural skin tones
Excellent color separation
Cinematic depth of field
Wide exposure latitude of 14 stops
EI 800 base sensitivity (EI 160 to EI 3200)
Sharp, natural images for 2K and HD
Multiple output options
ProRes, DNxHD, ARRIRAW and HD-SDI Log C, Rec 709 or DCI P3 ARRI
Look Files for custom looks audio recording
MXF files DNxHD 115/120/145 or 175x/185x/220x codec native editing format for Media Composer recording to SxS PRO cards
ARRIRAW – the best format for 2K deliverables and best quality for VFX productions

Technical Specs


Camera Type35 format film-style digital camera with an electronic viewfinder, a 16:9, 6:5, 4:3 or Open Gate switchable active sensor area, built-in support for the ARRI Wireless Remote System and the cmotion cvolution lens control system, built-in filter holder, Lens Data System, integrated shoulder arch and receptacles for 15 mm lightweight rods
Sensor35 format ALEV III CMOS sensor with Bayer pattern color filter array.
Lens Mount54 mm stainless steel LDS PL mount, Super 35 centered. 52.00 mm nominal flange focal depth without FSND filters.
Photo SitesSensor Mode 16:9
2880 x 1620 used for 16:9 ARRIRAW 2.8K
3168 x 1782 used for 16:9 ARRIRAW 3.2K
2880 x 1620 down sampled to 1920 x 1080 16:9 ProRes HD
2880 x 1620 down sampled to 2048 x 1152 for 16:9 ProRes 2K
3200 x 1800 used for 16:9 ProRes 3.2K
3200 x 1800 up sampled to 3840 x 2160 for 16:9 ProRes 4K UHDSensor Mode 6:5
2578 x 2160 used for 6:5 ARRIRAW 2.6K
2560 x 2146 down sampled to 2048 x 858 for 6:5 ProRes 2K Anamorphic
2560 x 2146 re-sampled to 4096 x 1716 for 6:5 ProRes 4K AnamorphicSensor Mode 4:3
2880 x 2160 used for 4:3 ARRIRAW 2.8K
2880 x 2160 used for 4:3 ProRes 2.8KSensor Mode Open Gate
3424 x 2202 used for Open Gate ARRIRAW 3.4K
3424 x 2202 used for Open Gate ProRes 3.4K
3414 x 2198 up sampled to 4096 x 2636 for Open Gate ProRes 4K Cine
Operating Modes16:9, 6:5, 4:3 or Open Gate sensor modes. Switching takes approx. 60 seconds. All sensor modes available in ARRIRAW and ProRes.
Frame Rates16:9
0.75 – 120 fps
0.75 – 96 fps4:3
0.75 – 96 fpsOpen Gate
0.75 – 90 fps
ShutterElectronic rolling shutter, 5.0º – 358.0º up to 60 fps; 5.0° to 356° above 60 fps. Shutter angle adjustable with 1/10 degree precision.
FiltersPermanent filters in front of the sensor: optical low pass, UV, IR. Includes a built-in Internal Filter Module (IFM-1) filter holder that accepts one of eight Full Spectrum Neutral Density (FSND) filters through manual insertion/removal.
Exposure Latitude14+ stops for all sensitivity settings from EI 160 to EI 3200, as measured with the ARRI Dynamic Range Test Chart (DRTC).
Exposure IndexEI 160: +5.2/-9.3

EI 200: +5.6/-8.9

EI 400: +6.6/-7.9

EI 800: +7.8/-6.7

EI 1600: +8.6/-5.9

EI 3200: +9.7/-4.8

Values behind the exposure index are the number of stops above and below 18% grey.

White BalancePresets for 3200 (tungsten), 4300 (fluorescent), 5600 (daylight) and 7000 (daylight cool). Automatic calculation or manual white balance for 2000 to 11000 Kelvin, adjustable in 100 K steps
Color CorrectionWhile white balance changes the red/blue hue of the image, color correction changes green/magenta. Adjustable range from -12 to +12 CC. 1 CC corresponds to 035 Kodak CC values or 1/8 Rosco values.
Sound LevelUnder 19 db(A) while recording ProRes 4444 16:9 HD @ 24 fps and ≤ +30° Celsius (≤ +86° Fahrenheit) with lens attached and fan mode set to ‘Regular’, measured 1 m/3 feet in front of the lens. Silent operation at higher temperatures possible with fan mode set to ‘Rec low’.
WeightALEXA SXT Plus body with PL mount: 6.9 kg/15.1 lbs.
ALEXA SXT Plus body with PL mount, electronic viewfinder, viewfinder cable, viewfinder mounting bracket and handle: 8.4 kg/18.6 lbs.
DimensionsALEXA SXT Plus body with PL mount: Length: 331 mm/13.03”, width: 189 mm/7.44”, height: 157.8 mm/6.21”
Environmental-20° C to +45° C (-4° F to +113° F) @ 95% humidity max, non-condensing. Splash and dust proof through sealed electronics. System cooling through radiator/single fan.
Recording CodecsUncompressed and unencrypted ARRIRAW or compressed and unencrypted QuickTime/ProRes recording. All formats include embedded audio, timecode and metadata.
Supported MediaSxS PRO 64 GB (SBP-64A)
SxS PRO+ 64 GB (SBP-64B & SBP-64C)
SxS PRO+ 128 GB (SBP-128B & SBP-128C)
LEXAR 3600x CFast 2.0 cards 256 GB
XR Capture Drives 512 GB
SXR Capture Drives 1 TB
SXR Capture Drives 2 TB
Image Processing16 bit linear internal image processing in full ALEXA Wide Gamut/Log C color space. Target output color spaces: Log C, Rec 709 or Rec 2020. An ARRI Look File (ALF-2) containing the name of the target color space, CDL values and a 3D LUT can be applied to ProRes or MON OUT images and will be saved in metadata. Optional horizontal image mirroring.
SynchronizationMaster/Slave mode for precision sync of settings, sensor, processing, HD-SDI outputs and ARRIRAW or ProRes recording for 3D applications. PHASE user button for shifting camera phase to move phase artifacts out of frame, i.e. when shooting a CRT monitor or rear screen projector (works in Rec Run TC mode).
Audio1x XLR 5 pin AUDIO IN for 2 channel, line level, balanced audio. 24 bit/48 kHz A/D conversion. Uncompressed PCM audio recording to ARRIRAW, ProRes and embedded in all HD-SDI outputs. Only available with same project/sensor speed at 23.976, 24, 25, 29.97 and 30 fps. Max of 2.5 dBm output from AUDIO OUT headphones connector.
Connectors1x media slot
4x BNC monitoring out HD-SDI, 1.5G MON OUT
1x XLR 5-pin analog audio in AUDIO IN
1x BNC return video in HD-SDI, 1.5G RET/SYNC IN
1x LEMO 16-pin external accessory interface EXT
1x Fischer 2-pin 24 V power in BAT
3x Fischer 3-pin 24 V remote start and accessory power out RS
1x LEMO 2-pin 12 V accessory power out 12 V
1x LEMO 5-pin timecode in/out TC
1x TRS 3.5 mm headphone mini stereo jack  AUDIO OUT
1x custom LEMO 16-pin electronic viewfinder EVF
1x custom LEMO 10-pin Ethernet with 24 V power ETHERNET
1x Fischer 5-pin Lens Data Display LDD
2x Fischer 5-pin Lens Control System LCS
1x Fischer 12-pin for CLM-2, CLM-3, CLM-4 or later IRIS
1x Fischer 12-pin for CLM-2, CLM-3, CLM-4 or later FOCUS
1x Fischer 12-pin for CLM-2, CLM-3, CLM-4 or later ZOOM

Product Video