Arri Alexa 35 – raising the bar.
A new era begins
For over a decade the ARRI ALEXA camera family has set the gold standard for digital cinematography. Now, ALEXA 35 raises the bar even higher with a new Super 35 format 4.6K sensor and REVEAL Colour Science.
- Featuring 17 stops of dynamic range – 2.5 more stops than previous ALEXA cameras, with filmic highlight roll-off
- Easier to handle any lighting conditions, more flexible in post
- The best possible source for HDR projects
- Improved sensitivity: lower noise, higher ISO
- EI 160 to EI 6400, with colour accuracy maintained at all exposure levels
- Enhanced Sensitivity option for even cleaner images in low light
- True-to-life colours
- Natural and beautifully rendered skin tones
- Subtler tonal variations for immersive and emotionally powerful images
- Easy workflow with REVEAL Colour Science
- More on-set creative control than ever before
- ARRI Textures let you tune how ALEXA 35 ‘sees’ the world
- ARRI Textures allow you to alter the amount and character of grain in the image, and the amount of contrast at different levels of detail, perceived as sharpness. Previous ALEXA cameras were pre-programmed with a default texture, but ALEXA 35 lets you choose from a menu of ARRI Textures, like selecting a film stock. Texture attributes can be very subtle and are best viewed on a large, high-quality HDR monitor. Example images below have been zoomed in around 500% from the original frame size, in order to illustrate the effect of ARRI Textures on fine detail.
- Evolving menu of textures for different shooting environments and visual styles
- Choose your digital film stock
- 4.6K Super 35 sensor
- Wide lens choice
- ALEXA 35 can be used with a vast array of lenses–modern and vintage, anamorphic and spherical, Super 35 and large-format. If you want to shoot with ARRI cameras while fulfilling native 4K mandates, you now have an immeasurably broader lens choice.
- 19 recording formats
- A total of 19 ARRIRAW and Apple ProRes recording formats, incorporating efficient in-camera downsampling and anamorphic de-squeezing, allow you to optimize data rate, resolution, and other parameters, based on your individual needs.
Fast and easy operation
ALEXA 35 is the smallest fully featured ARRI production camera ever, packing the features and processing power of a larger ALEXA into a Mini-sized body that can record native 4K at up to 120 fps. Fast and easy operation is assured through numerous usability improvements and a simple menu structure that will be intuitively familiar to crews. ALEXA 35 is the best A-camera, B-camera, and action camera on the market, all rolled into one.
Designed for flexibility
Five interchangeable lens mounts, two scratch mics, and internal FSND filters make ALEXA 35 ideal for changing shooting requirements. ACs will love the body-mounted LBUS connector, built-in serial port for distance measuring devices, and hot-pluggable viewfinder.
New side display
Read status and change settings without a viewfinder via the new camera left-side display and jog wheel. Great for TRINITY, Steadicam, Easyrig, drones, and cranes.
HDR viewfinder
Familiar MVF-2 viewfinder and menu structure from ALEXA Mini LF; now with the option to switch to HDR viewing in the eyepiece.
Integrated electronic modules
The Power Distribution Module PDM-1 (center) offers seven extra power accessory outputs, while the Audio Extension Module AEM-1 (left) provides two incredibly clean microphone preamp channels for onboard audio recording, as well as extra power outputs.
Media bay for Compact Drive 1TB and 2TB
All existing Compact Drives 1TB will work with the ALEXA 35, and the new 2TB version brings incredibly high frame rates to uncompressed ARRIRAW recording.
Versatile connectivity
ALEXA 35 offers a host of inputs and outputs for all your accessories. Highlights include two completely independent 12G SDI outputs, an ethernet connector for real-time streaming metadata, and regulated 12 V and 24 V accessory power outputs.
B-Mount, the new 24 V standard
Improved mechanics, impressive metadata, and enough power for all your accessories.
Support for any situation
ARRI has crafted a new line of bespoke ALEXA 35 accessories that expand the camera’s capabilities and ensure maximum speed and versatility on set. In addition to the electronic modules, a complete new set of mechanical support items provides flexible options for any situation, scaling quickly and easily from a small and lightweight setup to a full-blown production configuration.
Technical Data
| Model | ALEXA 35 |
| Sensor Type | Super 35 format ARRI ALEV 4 CMOS sensor with Bayer pattern color filter array |
| Sensor Maximum Number of Photosites and Size | 4608 x 3164 27.99 x 1922mm / 1.102×0.757″ Ø 33.96 mm / 1.337″ |
| Sensor Frame Rates | 0.75 – 120 fps |
| Weight | ∼2.9 kg / 6.4 lbs (camera body with three antennas and LPL Mount (LBUS)) |
| Photosite Pitch | 6.075 μm |
| Sensor Active Image Area (photosites) | 4.6K 3:2 Open Gate: 4608 x 3164 4.6K 16:9: 4608 x 2592 4K 16:9: 4096 x 2304 4K 2:1: 4096 x 2048 3.3K 6:5: 3328 x 2790 3K 1:1: 3072 x 3072 2.7K 8:9: 2743 x 3086 2K 16:9 S16: 2048 x 1152 |
| Sensor Active Image Area (dimensions) | 4.6K 3:2 Open Gate: 28.0 x 19.2 mm / 1.102 x 0.756″ 4.6K 16:9: 28.0 x 15.7 mm / 1.102 x 0.618″ 4K 16:9: 24.9 x 14.0 mm / 0.980 x 0.551″ 4K 2:1: 24.9 x 12.4 mm / 0.980 x 0.490″ 3.3K 6:5: 20.22 x 16.95 mm / 0.796 x 0.693″ 3K 1:1: 18.7 x 18.7 mm / 0.737 x 0.737″ 2.7K 8:9: 16.7 x 18.7 mm / 0.656 x 0.738″ 2K 16:9 S16: 12.4 x 7.0 mm / 0.490 x 0.276″ |
| Recording File Container Size (pixel) | 4.6K 3:2 Open Gate: 4.6K (4608 x 3164) 4.6K 16:9: 4.6K (4608 x 2592), 4K (4096 x 2304) 4K 16:9: 4K (4096 x 2304), UHD (3840 x 2160), 2K (2048 x 1152), HD (1920 x 1080) 4K 2:1: 4K (4096 x 2048) 3.3K 6:5: 3.3K (3328 x 2790), 4K (4096 x 1716) 3K 1:1: 3K (3072 x 3072), 3.8K (3840 x 1920) 2.7K 8:9: UHD (3840 x 2160) 2K 16:9 S16: 2K (2048 x 1152) |
| Recording File Image Content (pixel) | Identical to Recording File Container Size |
| Dynamic Range | 17 stops |
| Exposure Index | Adjustable from EI 160 – 6400 in 1/3 stops |
| Shutter | Electronic shutter, 5.0°- 356° or 1s – 1/8000s |
| Recording Formats | MXF/ARRIRAW MXF/Apple ProRes 4444 XQ MXF/Apple ProRes 4444 MXF/Apple ProRes 422 HQ |
| Recording Media | Codex Compact Drive 1TB (CA08-1024) Codex Compact Drive 2TB (CB16-2048) |
| Recording Frame Rates | ARRIRAW 4.6K 3:2 Open Gate: 35 / 75 fps ARRIRAW 4.6K 16:9 – 4.6K: 45 / 75 fps ARRIRAW 4K 16:9 – 4K: 55 / 120 fps ARRIRAW 4K 2:1 – 4K: 65 / 120 fps ARRIRAW 3.3K 6:5 – 3.3K: 55 / 100 fps ARRIRAW 3K 1:1 – 3K: 55 / 100 fps Apple ProRes 4.6K 3:2 Open Gate: 60 / 60 fps Apple ProRes 4.6K 16:9 – 4K: 75 / 75 fps Apple ProRes 4K 16:9 – 4K: 100 / 100 fps Apple ProRes 4K 16:9 – UHD: 120 / 120 fps Apple ProRes 4K 16:9 – 2K: 120 / 120 fps Apple ProRes 4K 16:9 – HD: 120 / 120 fps Apple ProRes 4K 2:1 – 4K: 120 / 120 fps Apple ProRes 3.3K 6:5 – 3.3K: 75 / 75 fps Apple ProRes 3.3K 6:5 – 4K 2.39:1 Ana. 2x: 90 / 90 fps Apple ProRes 3K 1:1 – 3K: 90 / 90 fps Apple ProRes 3K 1:1 – 3.8K 2:1 Ana. 2x: 100 / 100 fps Apple ProRes 2.7K 8:9 – UHD 16:9 Ana. 2x: 100 / 100fps Apple ProRes 2K 16:9 S16 – 2K: 120 / 120 fps (Compact Drive 1TB / 2TB) |
| Recording Modes | Standard real-time recording Pre-recording |
| Viewfinder Type | Multi Viewfinder MVF-2 with 4″ flip-out monitor |
| Viewfinder Technology | OLED viewfinder display LCD fold out monitor |
| Viewfinder Resolution (pixel) | 1920 x 1080 |
| Viewfinder Diopter | Adjustable from -5 to +5 diopters |
| Colour Output | Rec 709 Rec 2020 Rec 2100 PQ Rec 2100 HLG LogC4 Custom Look (ARRI Look File ALF-4) |
| Look Control | Import of custom 3D LUT ASC CDL parameters (slope, offset, power, saturation) ARRI Look Library ARRI Textures |
| White Balance | Manual and auto white balance, adjustable from 2000K to 11000K in 10K steps Color correction adjustable range from -16 to +16 CC 1 CC corresponds to 035 Kodak CC values or 1/8 Rosco values |
| Filters | Four position built-in motorized ND filter: Clear, 0.6, 1.2, 1.8 Fixed optical low pass, UV, IR filter |
| Image Outputs | 2x VF custom CoaXPress connectors for MVF-2 viewfinder 2x 12G SDI (BNC): 422 1.5G HD, 422 3G HD, 444 3G HD, 422 6G UHD, 422 12G UHD, 444 12G UHD |
| Lens Squeeze Factors | 1.00, 1.25, 1.30, 1.33, 1.50, 1.65, 1.80, 1.85, 2.00 |
| Exposure and Focus Tools | False Color Zoom Aperture and Color Peaking |
| Audio Input | 1x LEMO 6pin balanced stereo line in with 12V power output (line input max. level +24 dBu correlating to 0 dBFS) Two built-in microphones for scratch audio With Audio Extension Module AEM-1: additional 3x TA3 connectors (MIC/Line, +48 V, AES) |
| Audio Output | SDI (embedded) 3,5mm stereo headphone jack (on MVF-2) |
| Audio Recording | 4 channel linear PCM, 24 bit 48 kHz |
| Remote Control Options | MVF-2 viewfinder as wired remote control with 10m/33ft cable Camera Companion App ARRI Electronic Control System (ECS) Web-based remote control via Ethernet & WiFi (beta version) Camera Access Protocol (CAP) via Ethernet & WiFi GPIO interface for integration with custom control interfaces |
| Interfaces | 1x LBUS (LEMO 4-pin) for lens motors, daisy chainable 1x SERIAL (LEMO 4-pin) for distance measuring accessories 1x TC (LEMO 5-pin) for timecode In/Out 1x ETH (LEMO 10-pin) for remote control and service 1x SYNC IN (BNC) for Genlock synchronization 1x RET IN (BNC, switchable on SDI 2) 1x USB-C for user setups, look files etc. 1x Rear Interface (18-pin Pogo) for connection of modules and battery adapters 1x Top Interface (5-pin Pogo) |
| Wireless Interfaces | Built-in WiFi module (IEEE 802.11b/g) Built-in White Radio for ARRI ECS lens and camera remote control |
| Lens Mounts | ARRI LPL Mount (LBUS) ARRI PL-to-LPL Adapter ARRI PL Mount (LBUS) ARRI PL Mount (Hirose) ARRI EF Mount (LBUS) Leitz M Mount for ARRI |
| Flange Focal Depth | LPL mount: 44 mm PL mount: 52 mm |
| Power Input | 1x PWR (LEMO 8-pin) 1x BAT (camera rear interface / battery adapter) 20.5 – 33.6 V DC |
| Power Consumption | ~ 90 W (Camera body and MVF-2) |
| Power Outputs | 1x RS (Fischer 3-pin) for 24 V accessory power out, start/stop and shutter pulse 1x 12 V (LEMO 2-pin) for 12 V accessory power out 1x LBUS (LEMO 4-pin) for lens motors & 24 V power out, daisy-chainable 1x AUDIO (LEMO 6-pin) for balanced stereo line in and 12 V accessory power out 1x ETH (LEMO 10-pin) for remote control, service and 24 V accessory power out With Power Distribution Module PDM-1: additionally 4x 24 V, 2x 12 V and 1x D-Tap |
| Measurements (HxWxL) | 147 x 152.5 x 203 mm / 5.8 x 6.0 x 8.0″ (camera body with LPL lens mount) |
| Operating Temperature | -20° C to +45° C / -4° F to +113° F @ 95% relative humidity max, non condensing, splash and dust proof through sealed electronics, IP 51 |
| Storage Temperature | -30° C to +70° C / -22° F to +158° F |
| Sound Level | < 20 dB(A) at 30fps, recording 4K 16:9 – UHD, Apple ProRes 4444 XQ, ≤ +30° ambient temperature |
| Software Licenses | ALEXA 35 Cine License |
Downloads
Alexa 35 – Workflow and Post Guide
