Cinematographer
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.
Cinematographer
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.
Cinematographer
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.
Cinematographer
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
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.
Cinematographer
The sensor of the ALEXA 35 is something else, both strong and gentle in the perception of color and texture.
Director/cinematographer
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.
Cinematographer
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.
Cinematographer
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.
Cinematographer
With increased light sensitivity and more detail in the highlights, I can be even more bold with my lighting and exposure choices.
Cinematographer
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.
Cinematographer
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
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.
Cinematographer
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
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
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
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/DIT
ALEXA 35 sets the highest standards in resolution, dynamic range, and color. It's a totally new type of camera.
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.
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 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.
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.
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.
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 >
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 that can record native 4K at up to 120 fps. Fast and easy operation is assured through numerous usability improvements and a simple menu structure that will be intuitively familiar to crews. ALEXA 35 is the best A-camera, B-camera, and action camera on the market, all rolled into one.
Designed for flexibility
Five interchangeable lens mounts, two scratch mics, and internal FSND filters make ALEXA 35 ideal for changing shooting requirements. ACs will love the body-mounted LBUS connector, built-in serial port for distance measuring devices, and hot-pluggable viewfinder.
MVF-2 viewfinder and CCM-1 monitor
Full camera control, menu access and high-quality monitoring through the familiar, HDR-capable MVF-2 viewfinder and the new daylight viewable 7" Camera Control Monitor CCM-1. Both can now be operated by touch. Learn more about the CCM-1 here.
New side display
Read status, change settings, or play back clips without a viewfinder via the new camera left-side display. Great for TRINITY, Steadicam, Easyrig, drones, and cranes.
Integrated electronic modules
The Power Distribution Module PDM-1 (center) offers seven extra power accessory outputs, while the Audio Extension Module AEM-1 (left) provides two incredibly clean microphone preamp channels for onboard audio recording, as well as extra power outputs.
Media bay for Compact Drive 1TB and 2TB
Use the existing Compact Drives 1TB or the new Compact Drives 2TB for the same maximum frame rates in Apple ProRes. Or use the Compact Drive 2TB for the highest frame rates in ARRIRAW. Learn more >
Versatile connectivity
ALEXA 35 offers a host of inputs and outputs for all your accessories. Highlights include two completely independent 12G SDI outputs, an ethernet connector for real-time streaming metadata, and regulated 12 V and 24 V accessory power outputs.
B-Mount, the new 24 V standard
Improved mechanics, impressive metadata, and enough power for all your accessories.
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.
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.
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.
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