Vendor ARRI


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ARRI 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 complete new mechanical support system round out the ALEXA 35 platform.

ALEXA 35 measures at 17 stops of dynamic range (exposure latitude), far more than any other digital cinema camera. Filmmakers gain 1.5 stops in the highlights and a stop in the shadows over previous ALEXA cameras, while retaining the naturalistic, film-like highlight roll-off. Sophisticated stray-light suppression ensures that the full character and contrast range of each lens is captured. Together, the increased dynamic range and stray light control make it easier to handle any lighting conditions on set, increase flexibility in post, and provide the best possible source for HDR (High Dynamic Range) projects.

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 wider 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.

Introduced alongside the ALEXA 35 is REVEAL Color Science, which is the collective name for a suite of image processing steps that, along with the new sensor, help the camera to record more accurate colors with subtler tonal variations. Skin tones of all types and colors are rendered in a flattering, lifelike way. Highly saturated colors such as those in neon signs or car brake lights are captured with incredible realism, as are typically challenging colors like cyan, burgundy, and pastel shades. Overall, the true-to-life color fidelity and amazing resolving power of the sensor make for beautiful, immersive images.

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. Mixed Reality Productions (MRP) 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.

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 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. ALEXA 35 is available in sales sets that group together components suitable for different shooting styles and production types, with further accessories and system options facilitating countless setups.

ALEXA 35 utilizes the B-Mount battery interface, an open industry standard endorsed by ARRI and the wider industry. Providing high-capacity 24 V power, but also able to support 12 V, B-Mount offers more efficiency and improved data communication over previous systems. Cross-compatible with camera, lighting, and stabilizer equipment from manufacturers worldwide, it enables productions to streamline their power requirements.

Tech Specs for ARRI ALEXA 35

Sensor Type


Super 35 format ARRI ALEV 4 CMOS sensor with Bayer pattern color 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




2.9 kg / 6.4 lbs (camera body with three antennas and LPL Mount (LBUS))


Sensor 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"


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




Electronic shutter, 5.0°- 356° or 1s - 1/8000s


Recording Codecs


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


Color Output


Rec 709, Rec 2020, Rec 2100 PQ, Rec 2100 HLG, LogC4


White Balance


Manual and auto white balance, adjustable from 2000K to 11000K
Color correction adjustable from -16 to +16 CC
(1 CC corresponds to 035 Kodak CC values or 1/8 Rosco values)




Four position built-in motorized ND filter: Clear, 0.6, 1.2, 1.8
Fixed optical low pass, UV, IR filter


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)


Audio Recording


4 channel linear PCM (24 bit, 48 kHz)




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)


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 PL-to-LPL Adapter
ARRI PL Mount (Hirose)
Leitz M Mount for ARRI


Flange Focal Depth


LPL Mount: 44 mm , PL mount: 52 mm


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


Measurements (HxWxL) 147 x 152.5 x 203 mm / 5.8 x 6.0 x 8.0" (camera body with LPL lens mount)