Description
ARRI ALEXA 35 4.6K Super 35 Digital Camera
ALEXA 35 is a 4K Super 35 camera that elevates digital cinematography to unprecedented heights. ARRI’s first new sensor for 12 years builds on the evolution of the ALEXA family over that period, delivering 2.5 stops more dynamic range, film-like highlight handling, better low light performance, and richer colors.
The new REVEAL Color Science takes full advantage of the sensor’s image quality and provides a fast, simple workflow, while ARRI Textures enhance in-camera creative control. Easy operation, robust build quality, new electronic accessories, and a completely new mechanical support system round out the ALEXA 35 platform.
More sensitivity
Up to EI 6400, with lower noise
Impressively low noise and sensitivity settings ranging from EI 160 to EI 6400 make ALEXA 35 a “High ISO” camera. An optional Enhanced Sensitivity Mode can be applied to settings between EI 2560 and EI 6400, producing an even cleaner image in low light. This exceptional sensitivity, combined with the wider dynamic range and truer contrast, allows ALEXA 35 to capture the most delicate nuances of light and shadow in a broader range of shooting situations. Filmmakers can work with available light in real locations, safe in the knowledge that even at extreme ISO values, any noise will have a pleasingly film-like structure.
More creative control
ARRI Textures – choose your digital film stock
ARRI Textures provide a new and unique way for cinematographers to exert greater creative control on set. A texture defines the amount and character of grain in an image and the amount of contrast at different levels of detail, perceived by the viewer as sharpness. Previous ALEXA cameras were pre-programmed with a default texture, but with ALEXA 35 you can choose from an evolving menu of custom ARRI Textures, either to suit a specific shooting environment or to hone your look. This allows you to fundamentally alter how the camera records images, much like selecting a film stock.
Super 35 sensor
Wide lens choice, 19 recording formats
With its Super 35 4:3 native 4K sensor, ALEXA 35 can be used with the vast global inventory of existing lenses—modern and vintage, anamorphic and spherical, Super 35, and large format. Filmmakers wanting to shoot with ARRI cameras while having to fulfill 4K mandates now have an immeasurably broader lens choice. A total of 19 recording formats, incorporating efficient in-camera downsampling and anamorphic de-squeezing, allow productions to optimize data rate, resolution, and other parameters, based on their individual needs. Virtual studios will benefit from the camera’s ability to record lens metadata in all common standards and output real-time streaming metadata to ARRI’s Live Link Metadata Plug-in for Unreal Engine.
Fast and easy to use
A single, rugged camera that can do it all
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. Crews will be intuitively familiar with the simple menu structure; support for 1TB and 2TB Codex Compact Drives; and MVF-2 viewfinder, now with HDR. Fast and easy operation is assured through usability improvements such as a new left-side display and additional user buttons. Temperature resistant, splash and dust-proof, and conceived with future hardware and software updates in mind, ALEXA 35 is the best A-camera, B-camera, and drone or gimbal camera on the market, all rolled into one
Support for any situation
Electronic accessories and mechanical support
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. Closely integrated electronic accessories offer additional power outputs or extended audio features. A completely 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. ALEXA 35 is available in sales sets that group together components suitable for different shooting styles and product types, with further accessories and system options facilitating countless setups.
Features
- More exposure latitude
- 4.6K Super 35 sensor
- More sensitivity
- More accurate color
- More creative control
- 17 stops of dynamic range
- 2.5 more stops than previous ALEXA cameras, with filmic highlight roll-off
- Easier to handle any lighting conditions, and more flexible in post
- The best possible source for HDR projects
- Improved sensitivity: lower noise, higher ISO
- EI 160 to EI 6400, with color accuracy, maintained at all exposure levels
- Enhanced Sensitivity option for even cleaner images in low light
- Natural and beautifully rendered skin tones
- Subtler tonal variations for immersive and emotionally powerful images
- Easy workflow with REVEAL Color Science
Specifications
| Sensor Type | Super 35 format ARRI ALEV 4 CMOS sensor with Bayer pattern colour filter array |
| Sensor Photosites and Size | 4608 x 3164 / Ø 33.96 mm / 1.337″ |
| Sensor Frame Rates | 0.75 – 120 fps |
| Project Frame Rates | 23.976, 24, 25, 29.97, 30, 47.952, 48, 50, 59.94, 60 fps |
| Weight | 2.9 kg / 6.4 lbs (camera body with three antennas and LPL Mount (LBUS)) |
| Photosite Pitch | 6.075 μm |
| Active Image Area (Dimensions): |
|
| 4.6K 3:2 Open Gate | 28.00 x 19.20 mm / 1.102 x 0.756″ |
| 4.6K 16:9 | 28.00 x 15.70 mm / 1.102 x 0.618″ |
| 4K 16:9 | 24.90 x 14.00 mm / 0.980 x 0.551″ |
| 4K 2:1 | 24.90 x 12.40 mm / 0.980 x 0.490″ |
| 3.3K 6:5 | 20.22 x 16.95 mm / 0.796 x 0.693″ |
| 3K 1:1 | 18.70 x 18.70 mm / 0.737 x 0.737 |
| 2.7K 8:9 | 16.70 x 18.70 mm / 0.656 x 0.738″ |
| 2K 16:9 S16 | 12.40 x 7.00 mm / 0.490 x 0.276″ |
| Image Circle: |
|
| 4.6K 3:2 Open Gate | 33.96 mm / 1.337″ |
| 4.6K 16:9 | 32.10 mm / 1.264″ |
| 4K 16:9 | 28.57 mm / 1.125″ |
| 4K 2:1 | 27.82 mm / 1.095″ |
| 3.3K 6:5 | 26.38 mm / 1.039″ |
| 3K 1:1 | 26.45 mm / 1.041″ |
| 2.7K 8:9 | 25.09 mm / 0.988″ |
| 2K 16:9 S16 | 14.24 mm / 0.561″ |
| 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 |
| Recording Resolution (Pixel) – Max fps* (1TB / 2TB Drive): |
|
| 4.6K 3:2 Open Gate | 4.6K (4608 x 3164) – 35 / 75 fps (ARRIRAW), 60 / 60 fps (Apple ProRes) |
| 4.6K 16:9 | 4.6K (4608 x 2592) – 45 / 75 fps (ARRIRAW) |
| . | 4K (4096 x 2304) – 75 / 75 fps (Apple ProRes) |
| 4K 16:9 | 4K (4096 x 2304) – 55 / 120 fps (ARRIRAW), 100 / 100 fps (Apple ProRes) |
| . | UHD (3840 x 2160) – 120 / 120 fps (Apple ProRes) |
| . | 2K (2048 x 1152) – 120 / 120 fps (Apple ProRes) |
| . | HD (1920 x 1080) – 120 / 120 fps (Apple ProRes) |
| 4K 2:1 | 4K (4096 x 2048) – 65 / 120 fps (ARRIRAW), 120 / 120 fps (Apple ProRes) |
| 3.3K 6:5 | 3.3K (3328 x 2790) – 55 / 100 fps (ARRIRAW), 75 / 75 fps (Apple ProRes) |
| . | 4K 2.39:1 Ana. 2x (4096 x 1716) – 90 / 90 fps (Apple ProRes) |
| 3K 1:1 | 3K (3072 x 3072) – 55 / 100 fps (ARRIRAW), 90 / 90 fps (Apple ProRes) |
| . | 3.8K 2:1 Ana. 2x (3840 x 1920) – 100 / 100 fps (Apple ProRes) |
| 2.7K 8:9 | UHD 16:9 Ana. 2x (3840 x 2160) – 100 / 100 fps (Apple ProRes) |
| 2K 16:9 S16 | 2K (2048 x 1152) – 120 / 120 fps (Apple ProRes) |
| Exposure Index | Adjustable from EI 160 – 6400 in 1/3 stops |
| Dynamic Range | 17 stops (2.5 more than with previous ALEXA cameras) |
| Shutter | Electronic shutter, 5.0°- 356° or 1s – 1/8000s |
| Recording Codecs | 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 Modes | Standard real-time recording, Pre-recording |
| Viewfinder Type | Multi Viewfinder MVF-2 with OLED viewfinder display (1920 x 1080) and 4″ LCD flip-out monitor (800 x 400) |
| Viewfinder Diopter | Adjustable from -5 to +5 diopters |
| Colour Output | Rec 709, Rec 2020, Rec 2100 PQ, Rec 2100 HLG, LogC4 |
| Look Control | ARRI Textures |
| . | Custom colour look (through ARRI Look File ALF4 or ARRI Look Library) |
| White Balance | Manual and auto white balance, adjustable from 2000K to 11000K |
| . | Colour correction adjustable 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 |
| 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 Colour, Zoom, Aperture and Colour Peaking |
| Audio Recording | 4 channel linear PCM (24 bit, 48 kHz) |
| 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 |
| 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) |
| . | 1x Top Interface (5-pin Pogo) |
| Audio Inputs | 1x AUDIO (LEMO 6-pin) for balanced stereo line in |
| . | (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 Outputs | 1x 3.5 mm stereo headphone connector (on MVF-2) |
| . | 2x SDI (embedded audio) |
| Power Inputs | 1x PWR (LEMO 8-pin) |
| . | 1x BAT (camera rear interface / battery adapter) |
| . | 20.5 – 33.6 V DC |
| 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 |
| Remote Control Options | Camera Companion App |
| . | ARRI Electronic Control System (ECS) |
| . | Web-based remote control from phones, tablets and laptops via WiFi & Ethernet |
| . | Camera Access Protocol (CAP) via WiFi & Ethernet |
| . | GPIO interface for integration with custom control interface |
| Wireless Interfaces | Built-in WiFi module (IEEE 802.11b/g) |
| . | Built-in White Radio for ARRI ECS lens and camera remote control |
| Lens Mounts & Adapters | 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 Consumption | ~ 90 W (Camera body and MVF-2) |
| 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 @ 0-95% RH |
| Storage Temperature | -30° C to +70° C / -22° F to +158° F |
| IP Rating | IP 51 |
| Sound Level | < 20 dB(A) at 30 fps, recording 4K 16:9 – UHD, Apple ProRes 4444 XQ, ≤ +30° ambient temperature |
| Licenses | ALEXA 35 Cine License |
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