ARRI Alexa Mini or Mini LF? Super 35 vs large format, frame rates, built-in ND, media, lenses and budget compared, with which ARRI to hire for your shoot.
The ARRI Alexa Mini and the Alexa Mini LF look almost identical on a camera cart. ARRI built the Mini LF around the same compact body and mounting points, then put its large-format ALEV III A2X sensor inside. We have both on the shelf in Stoke Newington, N16, and the question we hear most is simple: is the LF worth the extra day rate, or will the original Mini do the job?
Here's how the two compare on sensor, frame rates, ND, media, lenses and budget, and which one we'd book for different kinds of shoot.
Specs are from ARRI. Both cameras use a rolling shutter. If your shoot is full of fast movement, strobes or car rigs, read our RED V-Raptor X vs Alexa Mini LF guide as well.
Both cameras use ARRI's ALEV III photosite design, with the same pixel pitch, the same 14+ stops of latitude and the same colour science. The LF's sensor is simply bigger. In practice, footage from the two cuts together very well, which is why some productions run a Mini LF as A camera and an Alexa Mini as B camera or on a gimbal.
What the bigger sensor changes is the image geometry. On the Mini LF, a given lens frames wider, so to get the same shot you use a longer lens, and the depth of field becomes shallower. That's the "large format look" DoPs talk about: more separation from the background, and wide shots that don't feel distorted.
If slow motion matters, the original Mini has the edge. It shoots up to 200fps in ProRes HD and 2K. The Mini LF reaches 40fps in full open gate, 60fps in its 4.5K 2.39:1 and 3.8K UHD modes, 90fps in ProRes 2K or HD from the LF sensor, and 100fps in a Super 35 HD mode. For anything faster or higher-resolution, look at the RED V-Raptor X or the Freefly Ember S5K.
Both cameras have ARRI's motorised FSND filter stage, which saves a lot of time on exteriors. The Alexa Mini's goes up to 2.1 (7 stops); the Mini LF's goes up to 1.8 (6 stops). Either way, the camera team can change ND from the camera or viewfinder without touching the matte box.
This is often what decides it. The Alexa Mini's Super 35 sensor works with almost every cinema lens, including vintage glass and classic Super 35 zooms. Ours is set up with a PL mount. From our lens hire shelf, the Zeiss Super Speed MKIII set and the ARRI / Zeiss Ultra Primes are natural partners.
The Mini LF needs lenses that cover the large-format sensor if you want to use all of it. Its 3:2 open gate is tall, which suits full-frame anamorphics, and our kit includes an ARRI LPL to PL adapter for PL-mount glass. It can also record in Super 35 modes, so Super 35 lenses aren't wasted on it, though you lose the large-format look. Our anamorphic lens hire page lists coverage for each set.
One thing to check on the Alexa Mini: ARRIRAW and the 4:3 anamorphic modes need ARRI licence keys on the camera. If your workflow depends on them, ask us to confirm before you book.
The Alexa Mini records to CFast 2.0 cards, and our kit comes with two 256GB cards and a Codex CFast reader. The Mini LF records to Codex Compact Drives, and our kit has three 960GB drives with a Codex reader. Large-format 4.5K ARRIRAW produces much more data per minute than Super 35 ProRes, so plan your media, offload time and storage with your DIT or editor.
Our Alexa Mini kit includes the ARRI EVF with its support, a Hawkwood mini V-lock plate, an ARRI dovetail plate, top handle, shoulder pad, bridge plate, 15mm and 19mm rods with adapters, a Wooden Camera A-Box, the CFast media and reader, and the cables. Our Mini LF kit includes the ARRI MVF-2 viewfinder, the LPL to PL adapter, an ARRI x Bebob V-lock plate, ARRI baseplate, dovetail and top handle, 15mm rods, the Codex drives and reader, and the cables. The ARRI Alexa Mini kit page and the ARRI Alexa Mini LF kit page always show the current contents and live day rates.
The Mini LF costs a good deal more per day than the original Mini. If your lenses are Super 35, or your edit doesn't need a 4.5K large-format master, the Alexa Mini gives you the same ARRI colour for much less, which leaves more of the budget for glass, lighting and grip. Both follow our day-rate sliding scale, and a weekend counts as a single hire day. See how camera hire works for the details.
Not sure? Call 020 7898 3322 or email rentals@weareyellowcactus.com with your shot list and lens plan, and we'll help you choose.
If you want the large-format look, full-frame anamorphic or a 4.5K master, yes. If your lenses are Super 35, you need high-frame-rate HD, or budget is tight, the original Alexa Mini gives you the same ARRI colour for less.
Very closely. Both use ARRI's ALEV III photosite design with the same colour science and 14+ stops of latitude, so they're often used together as A and B cameras.
The Alexa Mini: up to 200fps in ProRes HD and 2K. The Mini LF tops out at 40fps in open gate, 60fps in its 4.5K 2.39:1 and UHD modes, 90fps in ProRes 2K and HD, and 100fps in a Super 35 HD mode.
Yes. The Alexa Mini has 0.6, 1.2 and 2.1 FSND filters, and the Mini LF has 0.6, 1.2 and 1.8.
Our Alexa Mini is PL mount. The Mini LF has ARRI's LPL mount, and our kit includes an LPL to PL adapter for PL lenses.
The Alexa Mini records to CFast 2.0 (our kit has two 256GB cards and a reader). The Mini LF records to Codex Compact Drives (our kit has three 960GB drives and a Codex reader).