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 Color Science.
Based around the new 4.6K Super35 CMOS sensor, the ALEXA 35 offers 17 stops of dynamic range, which is an additional 2.5 stops greater than prior ARRI cameras. The 2.5 stops are split between 1.5 stops at the top end, resulting in film-like highlight roll-off, and 1 stop at the lower end to see even deeper into shadows without overexposing other areas.
In-camera down-sampling and anamorphic de-squeezing enable the ALEXA 35 to offer a robust array of 19 ARRIRAW and Apple ProRes recording formats with different resolutions, data rates, aspect ratios, and other factors, suiting the camera to a range of production styles. Recording resolutions include 4.6k, 4k, 3.3k, 3k, 2.7k, and 2k options.
With an EI of 160 to 6400, the ALEXA 35 offers higher sensitivity and lower noise than ever before in the ARRI lineup, even in low-light settings. A selectable Enhanced Sensitivity Mode (EI 2560-6400) works with the camera’s wide dynamic range to produce nuanced images in darker environments and is ideal for impromptu or available-light capture.
The ALEXA 35 offers backward compatibility for intercutting with ALEXA, ALEXA Mini, and AMIRA images, and the ALEXA Mini LF and ALEXA LF images may be processed via REVEAL to match your ALEXA 35 footage. Processed images will not offer the higher dynamic range nor ARRI Textures but will have cleaner edges, better colour, easier grading, and ACES, Log-C 4, and new LUT compatibility.
ALEXA 35 also introduces ARRI Textures that 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.
ALEXA 35 is approved to shoot NETFLIX 4k original content – the fourth camera in ARRIs line up to meet the requirements.
|Sensor||Super 35 format ARRI ALEV 4 CMOS sensor with Bayer pattern colour filter array|
|Dimensions||Length: 147mm Width: 152.5 Height: 203 mm (camera body with LPL lens mount)|
|Weight||Approx: 2.9kg (camera body with LPL mount and no viewfinder)|
|Lens Mounts Available||LPL/PL (PL Mount Adapter Supplied)|
|Internal Filters||Built-in Motorized ND filters 0.6, 1.2, 1.8|
|Exposure Index||Adjustable from EI 160 - 6400 in 1/3 stops|
|Recording Media||Codex Compact Drive 960Gb or 2Tb (3 x 2Tb Supplied with Production Kit)|
|Recording Formats||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 Codec||MXF/ARRIRAW, MXF/Apple ProRes 4444 XQ, MXF/Apple ProRes 4444, MXF/Apple ProRes 422 HQ|
|Recording Frame Rates||ARRIRAW 4.6K 3:2 Open Gate: 35/75fps, ARRIRAW 4.6K 16:9 - 4.6K: 45/75fps, ARRIRAW 4K 16:9 - 4K: 55/120 fps, ARRIRAW 4K 2:1 - 4K: 65/120fps, ARRIRAW 3.3K 6:5 - 3.3K: 55/100fps, ARRIRAW 3K 1:1 - 3K: 55/100fps, Apple ProRes 4.6K 3:2 Open Gate: 60/60fps, Apple ProRes 4.6K 16:9 - 4K: 75/75fps, Apple ProRes 4K 16:9 - 4K: 100/100fps, Apple ProRes 4K 16:9 - UHD: 120/120fps, Apple ProRes 4K 16:9 - 2K: 120/120fps, Apple ProRes 4K 16:9 - HD: 120/120fps, Apple ProRes 4K 2:1 - 4K: 120/120fps, Apple ProRes 3.3K 6:5 - 3.3K: 75/75fps, Apple ProRes 3.3K 6:5 - 4K 2.39:1 Ana 2x: 90/90fps, Apple ProRes 3K 1:1 - 3K: 90/90fps, Apple ProRes 3K 1:1 - 3.8K 2:1 Ana 2x: 100/100fps, Apple ProRes 2.7K 8:9 - UHD 16:9 Ana 2x: 100/100fps, Apple ProRes 2K 16:9 S16 - 2K: 120/120fps (Compact Drive 1TB / 2TB)|
|Power Input||20.5-33.6 V DC|
|Codex Compact Drive 2Tb|
|Codex Compact Drive 960Gb|
|ARRI Hi-5 Wireless Controller Kit|
|LMB 4x5 3/2 Stage Clamp On Mattebox|
|EasyRig Vario 5|