ALEXA_35_Stage_2023 (1)
ALEXA 35 + SP - Dark Hero - Reflection_V2-grey
A new era in digital cinematography

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.

ALEXA 35 in use


Jack Schurman


In “Complicated Order”, we were capturing a variety of diverse skin tones in a range of environments. I was blown away by the color accuracy both on set, watching the monitor, and then again while I was coloring in post. I’d heard quite a bit about the impressive latitude of the ALEXA 35 before the project, but what I didn’t expect was the quality of information and color representation in the higher and lower IREs. The smooth, gradual color gradient at the far ends of the exposure spectrum is truly filmic.


Derek Lamoureux


Having the ALEXA 35 as our camera package for "More Than You Can See" was a no brainer. The high dynamic range and increased low light performance were invaluable tools that allowed us to capture the visual aesthetics throughout the film. Director of Photography, Nik Pilecki was able to shoot at new angles that he would have previously steered away from (due to distracting highlights) and shoot for longer coverage over blue hour while maintaining exposure with no color shifts. The ALEXA 35 proved to be a workhouse indoors and outdoors, even through the bitter cold Canadian winter day. The camera's form factor made transitioning between small rooms, car shots, and dolly setups, efficient and seamless.

John Njaga Demps_Image

John Njaga Demps


When I heard that Klink Studios in Nigeria purchased the first ALEXA 35 in Central Africa, I booked it far in advance for “Africanda.” The film has scenes in the present day, as well as flashbacks and an ancient African sequence filmed in caves that are millions of years old. Using the textures in the ALEXA 35 helped me create a palette for each time period. The dynamic range of the camera was astounding, capturing so much detail in the shadow areas while maintaining detail in the flames of torch lights we used in the caves.


Alper Kasap


Beautiful natural skin tones, ground-breaking dynamic range, rich colors, low-light capabilities, and the new texture options—all of these combined were the perfect visual language for the world we were trying to create. ARRI continues to drive the evolution of this industry and the ALEXA 35 is no different; it’s an incredible brush for a cinematographer to breathe life into the stories we want to tell.


John Angus Stewart


I’ve honestly never used a camera system quite like this one; the colors and skin tones feel far superior to any previous system. ARRI Textures are the big revelation for me. With almost everything I’ve ever shot on digital we’ve added some sort of grain in the DI, but it alters the saturation and color contrast, so you never see an accurate representation of your end result. With ARRI Textures you are able to construct your look in-camera and see it reacting to the exposures in real time. To me it feels like digital has actually arrived, finally.

Yunus Köse_Image

Yunus Köse

2nd AC

Of all the cameras I have used as a 2nd AC, ALEXA 35 is the one I can work with most efficiently. My transition to stabilization systems is very fast. I can easily disassemble the CCH-5 from the CBP-5 and put it on ARRI and many other gimbals quickly. Likewise, it became very easy to prepare the camera for the shoulder system or tripod. This makes what we do practical. The function keys on the camera are very useful; I assign playback and record functions and use them frequently.


Can Dolu


I’ve worked with many cameras, but I feel safest with ALEXA 35. It’s like a companion that I never want to be separated from. Excellent skin tones, high dynamic range, and outstanding low-light performance yield exceptional results. Whether I need a very naturalistic look or a surreal visual, the ALEXA 35 fulfills all my requirements. It has never disappointed me with its color reproduction. The small control panel on the operator’s side is quick and practical. Our journey with ALEXA 35 will continue for a long time.


Joe Katches


What I look for first and foremost in a camera is flexibility. Which is why the ALEXA 35 as my main camera was an easy choice. It provides the most flexibility in dynamic range, color science, and ergonomics. I couldn’t get the camera to clip in the highlights or shadows, the colors were accurate and beautifully rendered, and the size of the camera is user friendly. Without a doubt this camera is a cinematographer’s dream come true.


Robert McLachlan


I was dropped in on short notice to do two episodes of “1923” and had no prior experience with ALEXA 35 but was very pleased by its performance. The increased dynamic range over the original sensor was very welcome and I made full use of it. The form factor is very good. We ran five ALEXA 35’s all the time and used them in a variety of conveyances including crane and Steadicam work but also on an arm on a boat off the coast of Capetown and it worked flawlessly. It’s really an improvement over the classic ALEXA, that I had so much experience with.

Alex Leeway_Image

Alex Leeway


Before shooting with the ALEXA 35, I wondered if that quintessential ARRI look would be lost with their new sensor, but it actually shines more than ever. Being able to dial in new unique looks with the textures, see even more accurate colors vividly, and peek more into the shadows and highlights, means that lovely ARRI look has evolved into more of a versatile beast, paving a path into a new era of filmmaking. I’m in love yet again!


Adam Suschitzky, BSC


I was quite simply BLOWN AWAY by the images this camera helped produce. To say this is a game changer sounds cliché, but it is true! The sensor is outstanding, giving one the toolset to produce such subtle imagery day and night. I’d say that we could also fly through the scenes in the grade far faster than ever before, partly from the marvellous way the sensor reproduces the tones of any given scene so elegantly. There was far less need to window all the highlights or bring detail back into the shadows as it was all there to start with.


Jonas Abenstein


We had a really great setup with ALEXA 35 and anamorphic lenses that worked well both in the arm car and handheld without any major conversions. But the camera itself is really amazing. The colorist was also very excited about the huge dynamic range of the new ALEXA 35 sensor

4 K super 35 camera in action on set.

Evan Oliver

Director of Photography

The image out of the ALEXA 35 is incredible. The extra stops in the highlights and new color science struck me as the most stand out parts of the new sensor. There is so much depth in the image—I couldn’t believe how much it could be pushed and pulled in the grade. The ALEXA 35 changes the future of Super 35 productions. It is the new standard.

Director talks about his impression of the 4K ALEXA 35 camera.

Bárbara Alvarez


The sensor of the ALEXA 35 is something else, both strong and gentle in the perception of color and texture.

The cinematographer and director stands next to the 4K alexa 35 camera while shooting a scene.

Mike Valentine BSC


As a director, I feel there is now almost no setup I could imagine where I would have to compromise my approach to shooting a scene.


Muko Tirmik


To me, a camera isn’t just a mechanical machine, it has a way of thinking. The ALEXA 35 made us feel safe with its amazingly helpful features. The data integrity and the 17 stops of dynamic range gave us fantastic results. With the help of some specific HDR shooting techniques and 3D lighting setups, I was able to retain detail in all the highlights and all the shadows.

Super 35 camera ALEXA 35 used on set and especially impressive for its colour conversion.

Neha Parti Matiyani ISC


When I saw how the camera was reacting to low light conditions, I shot only with firelight at 3200 EI. Another setup with UV lights had absolutely no reading on the light meter. In both situations the skin tones and textures came out very well.

4 K, 35 mm camera in action on set.

Ari Wegner ACS


With increased light sensitivity and more detail in the highlights, I can be even more bold with my lighting and exposure choices.

arri camera 2022 ALEXA 35 in action.

Barnabas Emordi


The way the new sensor sees color is astonishing to me, even after using ARRI cameras for the last few years...In scorching African sunshine, the highlight roll-off is really nice and you still see detail in the shadows.

The ARRI 2022 camera alexa 35 operating on set.

Erik Messerschmidt ASC


The ALEXA 35 was spectacular; it outperformed all my expectations. I could not get the camera to clip - the dynamic range is so wide and impressive. This is a completely new generation.

Cinematographer tells about his impressions of the super 35 camera alexa 35.

James Friend ASC, BSC


The new sensor produced images that were extremely malleable, with staggering latitude. It retained all the color and information even in the most brilliant of highlights and deepest of shadows.

4K ALEXA 35 camera in action.

Jessie Wang


We couldn’t use any lights; we just used the streetlights and the light from buildings. It was definitely noticeable that the Enhanced Sensitivity Mode has minimal noise, so I think it’s a real improvement.

Cinematographer used one of the ARRI textures available in the 35 mm camera ALEXA 35.

Nikolaus Summerer


We used one of the ARRI Textures that are available in the ALEXA 35. It added some grain, and a lot of us cinematographers do have a love for grain. There was a certain feel to it, a different structure to just pushing the ASA.

Director looks at the arri camera 2022 footage on set.

Rudi Schwab


The close-ups on the kids' faces were like nothing else I've seen. Even the dark sides of their faces held so much beautiful skin tone and texture.

Cinematographer operates with 35 mm camera ALEXA 35.

Seamus McGarvey ASC, BSC


I was so impressed by the latitude of the sensor, and I loved how it depicts colors as vividly as a stained-glass window. It is a game changer.

Director talks about his impression of the 4K ALEXA 35 camera.

Yoshikatsu Date


ALEXA 35 sets the highest standards in resolution, dynamic range, and color. It's a totally new type of camera.

More dynamic range

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. Find out more >

More sensitivity

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.

More accurate colors

ARRI’s discussions with filmmakers and careful review of the image pipeline have led to significant image quality enhancements and a faster, easier workflow. REVEAL Color Science is a suite of new image processing steps used by ALEXA 35 internally and also available through leading third-party postproduction tools for ARRIRAW processing. 

  • ARRI Debayer Algorithm ADA-7

    • First step in the new and improved image processing chain
    • Converts ARRIRAW into camera-native RGB image data
    • Makes the most of ARRI sensors
    • Sharper images and cleaner edges
    • Easy compositing speeds up VFX work in post
  • ARRI Color Engine ACE4

    • Transforms camera-native RGB image data into the AWG4 color space
    • Brings what the camera 'sees' closer to human visual perception
    • More accurate and subtle color reproduction
    • Pleasing and naturalistic rendition of all skin tones
    • Better color tracking and differentiation at all exposure levels
    • Greatly improved bright saturated colors
    • Same color tones in SDR and HDR
  • ARRI Wide Gamut AWG4

    • New camera color space for faster and easier grading
    • “Goldilocks” color space: just the right size
    • Larger than Rec 2020 but minimizes “virtual” colors
    • Fully enclosed by and compatible with ACES
    • More accurate color space conversions
  • LogC4 Curve

    • Encodes brightness changes
    • Captures the sensor’s increased dynamic range
  • LogC4 Display Look Up Tables

    • Transform LogC4/AWG4 images into various display color spaces
    • Take full advantage of ARRI sensors and LogC4/AWG4
    • Should be used for all LogC4 images
    • Improved color fidelity

  • Cross-camera Compatibility

    • ALEXA 35 images can be intercut with other ALEXA or AMIRA images
    • A perfect color match with the ALEXA 35 can be achieved by processing ARRIRAW from any digital ARRI camera (except ARRIFLEX D-20/D-21) through REVEAL Color Science
Showing the detail of footage taken by the ALEXA 35.
More creative control

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, as well as the amount of contrast at different levels of detail, perceived by the viewer as sharpness.

Choose your digital film stock

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.

A close-up of a face illustrates the effect of ARRI textures on fine details made possible by the 4K super 35 camera ALEXA 35.
A close-up of a face illustrates the effect of ARRI textures on fine details made possible by the 4K super 35 camera ALEXA 35.
K445 Default
G733 Nostalgic

Choose your digital film stock

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.

A close-up of a face illustrates the effect of ARRI textures on fine details made possible by the 4K super 35 camera ALEXA 35.
A close-up of a face illustrates the effect of ARRI textures on fine details made possible by the 4K super 35 camera ALEXA 35.
K445 Default
G733 Nostalgic





Orphan Black: Echoes




Head to Head


Equalizer 3


Cerrar los Ohos


Kadinlara Mahsus


Le retour


Les Indésirables


May December

4.6K Super 35 sensor

Wide lens choice

ALEXA 35 can be used with a vast array of modern or vintage, anamorphic or spherical, Super 35 or large-format lenses, giving you a far broader lens choice if you want to shoot with ARRI cameras while fulfilling native 4K mandates. For instance, the exceptionally wide focal length range of the ARRI Signature lens family makes it just as suitable for Super 35 as for large format, delivering beautifully rich and textured images that take full advantage of the new ALEXA 35 sensor.

20 recording formats

A total of 20 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. Whatever your aspect ratio choice and whatever your deliverable requirements, there is an ALEXA 35 recording format ideally suited to your production. Learn more >

Choosing a lens while shooting with the arri camera 2022.
Super 35 camera in action on set.
Close-up of a 4K super 35 camera during a shoot.
Behind the scenes of a shoot in the argentine nature with the 4K alexa 35 camera.
35 mm camera in action.

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. 

ALEXA 35 Accessories
Try the interactive accessories tool

Built for a long-term investment

Before shipping, every ALEXA 35 undergoes extreme temperature and vibration tests to ensure a lifetime of reliable service on set. During development, the camera was shaken, frozen, cooked, and subjected to blunt impact trauma, while connectors were repeatedly stress-tested by robotic arms. The result? ALEXA 35 is temperature resistant, splash and dust-proof, and built to last, delivering a safe return on investment.

long term investment, film camera

Short film series "Encounters"

Eleven filmmakers from around the world were given an ALEXA 35 and asked to tell a visually compelling story about an encounter—a moment when lives intersect, experiences are shared, and new directions are found. Between their diverse locations, lens choices, and shooting styles, the filmmakers pushed the limits of the camera’s dynamic range and explored the ARRI Textures, unloosing their creativity on the new possibilities with color, low light, blazing highlights, and extreme conditions.

Dive into the details with ALEXA 35 Tech Talks

ARRI using the Camera Companion App on set.
ARRI Camera Companion App

The Camera Companion App offers remote control of one or multiple cameras, as well as customization of the user interface. It focuses on the functions that are most frequently needed during production.

Learn more >

Technical Data
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 19.22 mm / 1.102 x 0.757"
Ø 33.96 mm / 1.337"
Sensor Frame Rates
0.75 - 120 fps
∼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
3.8K 16:9: 3840 x 2160
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"
3.8K 16:9: 23.3 x 13.1 mm / 0,918 x 0.516"
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)
3.8K 16:9: UHD (3840 x 2160)
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
Electronic shutter, 5.0°- 356° or 1s - 1/8000s
Recording Formats
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 3.8K 16:9 - UHD: 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
Viewfinder Type
Multi Viewfinder MVF-2 with 4" flip-out touchscreen monitor
Viewfinder Technology
OLED viewfinder display
LCD flip-out monitor
Viewfinder Resolution (pixel)
OLED: 1920 x 1080
Viewfinder Diopter
Adjustable from -5 to +5 diopters
Color Output
1. ARRI Color Management Display Render Transforms:
- Rec 709
- Rec 2020
- Rec 2100 PQ
- Rec 2100 HLG
2. LogC4
3. Custom Color Management
Look Control
ARRI Look File ALF-4:
- 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
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
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)
With LPS-1 Fiber Camera Adapter FCA-1: additional 2x 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 Control Monitor CCM-1
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
Skaarhoj Remote Control Panel
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
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 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 (included)
ALEXA 35 Multicam License (optional)