User Manual

Operation of the Camera 131
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On SxS cards, use the write protect tab before sending it to the data wrangler.
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After an SxS card has been downloaded and backed up, disengage its write
protect before formatting.
Metadata
Metadata is stored in a Final Cut XML file, an Avid ALE file, in the recorded frames/
clips and embedded in the HD-SDI signals. The most important metadata for post
production workflow is the tape name, as it will be one of the primary identifiers used
in the EDL. The term tape name is an existing post-production naming convention that
is also used for nonlinear media. The terms tape name and reel name may be used
interchangeably.
The tape name of ALEXA files is limited to 8 letters to match the CMX 3600 EDL
standard. It consists of the Camera Index, reel counter and the Camera ID. Based on
the previous example, the tape name of the clip would be A004R1JL.
Even if the user forgets to assign different camera indices to two cameras on the same
project, the Camera ID metadata guarantees unique tape names.
The Quicktime file carries a single timecode track.
For more information, please refer to the Metadata white paper available for download
on the ARRI website.
14.2 Monitoring
The ALEXA's monitoring options are the electronic viewfinder EVF-1 and the MON
OUT. Surround View is available on both. With Surround View set to On, 10%
additional pixels outside the recorded image area on the ALEXA's ALEV III sensor
are displayed, allowing the operator to see outside the recorded image and keep
unwanted objects, such as microphone booms or dolly tracks, out of the shot. To view
only the recorded image, set Surround View to off.
To aid in framing, both the EVF-1 and MON OUT can display frame lines overlaid
on the image. Frame lines can be considered electronic versions of ground glass
markings in film cameras.
14.2.1 Frame Lines
A standard set of frame lines for different aspect ratios is provided in the camera,
including:
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1.33:1 (ARRI 1.33)
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1.66:1 (ARRI 1.66)
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1.78:1 (ARRI 1.78)
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1.85:1 (ARRI 1.85)
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2.39:1 (ARRI 2.39 Flat)
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2.39:1 1.3x anamorphic (ARRI 2.39 Scope 1.3x)
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2.39:1 2.0x anamorphic (ARRI 2.39 Scope 2x)
To create custom frame lines, use the Frame Line Composer on the ARRI website.
NOTICE
When shooting ProRes 2K (2048x1152) for a DCI 2K release in a 1.85:1 aspect
ratio, the preloaded frame line ARRI 1.85 2K DCI can be used to mark the
corresponding 1998x1080 area for a DCI 2K 1.85 without requiring any scaling in
post production. This frame line is not available in HD mode (1920x1080).