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. 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 Engin.


Alexa 35

Alexa Mini LF

Combining the compact size and low weight of the popular ALEXA Mini with the large-format ALEXA LF sensor, ALEXA Mini LF brings exciting new creative possibilities to ARRI’s large-format camera system. Optimized for large-format lenses, the LPL lens mount fitted to ALEXA LF and ALEXA Mini LF cameras accepts ARRI Signature Primes and Zooms, ARRI Rental DNA LF and 65 format optics, and third-party LPL lenses. The PL-to-LPL adapter, which attaches securely to the LPL lens mount without tools, offers backwards compatibility with all PL mount lenses, be they Super 35 or full frame. LDS-2 or /i lens metadata is accessible via the LPL mount, and LDS-1 or /i via the PL-to-LPL adapter. ARRI’s Frame Line and Lens Illumination Tool, available in the Learn & Help/Tools section of the ARRI website, illustrates how much of the large-format sensor is covered by a given lens.
Other manufacturers, such as Panavision and Vantage, offer proprietary lens mounts for the ALEXA LF and ALEXA Mini LF cameras, to support their own lens ranges. Cinematographers therefore have an almost unlimited lens choice when shooting with ARRI large-format cameras. Codex High Density Encoding (HDE) uses sophisticated, loss-less encoding to reduce ARRIRAW file sizes by around 40% during the offload from the recording media. While exhibiting a smaller footprint, HDE is not compromising on quality. Once decoded, the output results in a bit-for-bit perfect match to the original ARRIRAW file! HDE lowers storage costs, shortens transfer times, and speeds up workflows, which translates to direct savings in time and money.
- Three internal, motorized large-format FSND filters: ND 0.6, 1.2 and 1.8
- New dedicated, regulated 12 V and 24 V accessory power outputs
- New SYNC IN and improved AUDIO connectors
- Two built-in microphones
- Six user buttons on camera’s left side
- One LOCK button each for camera and viewfinder
- Additional external WiFi antenna
- Easier access to media, VF and TC connectors
Alexa Mini

Compact, lightweight, and self-contained – ARRI ALEXA Mini is the small and versatile allrounder in the ARRI camera family.
The symmetrical design permits filming in any orientation, including upside-down and in portrait mode, while multiple accessory points enable highly creative mounting solutions. In addition, it comes with a series of interchangeable lens mount, allowing the use of B4 video, EF mount stills lenses, or with the even ARRI Signature Primes with the LPL mount for this camera. It can be operated in number of ways: by wireless remote control, as an A-camera with the ARRI MVF-1 multi viewfinder attached, or with an on-board monitor and controlled via the user button interface on the camera body. The compact and lightweight ALEXA Mini is a highly versatile tool on set. In some productions it is used as a second or third camera, while in others it is the main camera throughout a shoot. As a result, it is frequently moved from one configuration to another. Any time savings that can be made during these transitions will have a big impact on the daily shooting schedule.
Alexa XT Plus

The ALEXA XT (Xtended Technology) cameras add a number of significant and unique features to the ALEXA family: a Super 35 sensor with Open Gate and 4:3 sensor modes, in-camera ARRIRAW up to 120 fps, ProRes 4444 XQ, ProRes 3.2K, internal ND filter, Lens Data System, integrated CDL capture, ARRIRAW checksum, included anamorphic de-squeeze and high speed licenses, new viewfinder mounting bracket as well as a new, super silent fan. These features will expand on the benefits that have already made ALEXA such an extraordinary success – highest overall image quality and lowest overall production cost through reliability, ergonomics and efficient workflows. The ALEXA XT Plus is the first major step in the evolution of the Alexa camera family. The new XR Module (Xtended Recording), co-developed by Codex, makes it possible to record ARRIRAW in-camera onto XR Capture Drives. Through an adapter you’re still able to record ProRes or DNxHD to more economical Sony SxS Pro Media Cards.
Alexa XT Studio

At the pinnacle of the range is the ALEXA XT Studio, featuring a quiet, adjustable mirror shutter and an optical viewfinder that provides a real-time, high contrast image with true colors. The Studio is a direct response to cinematographers requests for a camera that perfectly combines cutting edge digital image-making with traditional elements of the film cameras they have known and trusted for generations. The Studio has an integrated wireless receiver for camera and lens remote control, built-in tilt and roll sensors and additional connectors for camera and lens control, signal output and accessory power supply. Like all the last cameras it has in-camera ARRIRAW recording, a 4:3 Super 35 sensor, LDS PL mount, included anamorphic de-squeeze and high speed licenses as well as a new, super silent fan. Additionally, it has also has an internal motorized ND filter and a DNxHD license (DNxHD recording not possible with SUP 8.0, planned for SUP 9.0).
Alexa Plus

The ALEXA Plus adds integrated wireless remote control, the ARRI Lens Data System (LDS), additional outputs, lens synchronization for 3D, and built-in position and motion sensors. It shares ALEXA’s image performance, simplicity of operation, reliability in extreme environments and versatility of workflow, and is available either as part of a complete camera package or as an upgrade for the original ALEXA. An advanced electronics side cover permits real-time wired or wireless remote control of camera REC/STOP and lens functions like focus and aperture, using either ARRI hand controllers such as the Wireless Compact Unit (WCU-3) or cmotion’s modular cvolution system.The lens mount of the Plus model incorporates LDS contacts, allowing lens data and depth of field to be displayed in the viewfinder or on monitors, and making speed/iris ramps easier. Lens metadata can be recorded using ProRes, HD-SDI or ARRIRAW.
Arriraw Codex

The Arriraw Codex Onboard can record anything from HD for television, to the highest quality digital cinematography cameras. It can be mounted directly on a wide range of camera systems including ARRI ALEXA, ARRI D-21, Sony F35.
The Arriraw Codex Onboard can record uncompressed or wavelet cinema quality HD material – plus audio and metadata – onto a single, removable data pack. When shooting is done, it offloads materials faster than real-time. Weather-resistant unit Weighting: just 2.5kg / 5.7lb Ideal for single or multi-camera production The Onboard can record simultaneously from two 4:4:4 cameras – for A&B or 3D stereo shoots – or from two 4:2:2 cameras. The Onboard records using uncompressed or visually lossless wavelet compression, with compression ratios from 3:1 to 8:1. It also significantly reduces the storage requirements of a production. The Onboard delivers immediate full-frame playback and review as video. It also delivers reference and viewing files over a network for full on-set quality control. Used with a Codex Media Station, it can deliver shots in multiple industry-standard formats – these can be generated on-the-fly for editing systems to use without importing