A new era begins 

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.


17 stops of dynamic range

2.5 more stops than previous ALEXA cameras, with filmic highlight roll-off
Easier to handle any lighting conditions, more flexible in post
The best possible source for HDR projects

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


Ari Wegner ACS


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.

Messerschmitt title

Erik Messerschmidt ASC


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.


James Friend ASC, BSC


Improved sensitivity: lower noise, higher ISO
EI 160 to EI 6400, with color accuracy maintained at all exposure levels
Enhanced Sensitivity option for even cleaner images in low light

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.

Jessie Wang_Quote_Sensitivity-web

Jessie Wang


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.

Neha Parti Matiyani IS_India-web

Neha Parti Matiyani ISC


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.


Rudi Schwab



True-to-life colors

Natural and beautifully rendered skin tones
Subtler tonal variations for immersive and emotionally powerful images
Easy workflow with REVEAL Color Science

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 pipeline
    • Converts ARRIRAW into camera native RGB image data
    • Makes the most of the new sensor’s capabilities
    • Cleaner color edges for blue and greenscreens
    • 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 subtle and accurate color reproduction
    • Pleasing and naturalistic rendition of all skin tones
    • Better color tracking and differentiation at all exposures
    • Much improved saturated colors (brake lights, neon signs)
  • 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
    • More accurate color space conversions
    • Fully enclosed by and compatible with ACES
  • LogC4 Curve

    • Encodes brightness changes
    • Captures the sensor’s increased dynamic range
    • Same curve for all EI (ISO) settings
  • LogC4 Look Up Tables

    • Transform LogC4/AWG4 images into various display color spaces
    • Allow DPs and colorists to create bespoke looks
    • ARRI custom LUTs take full advantage of new sensor and LogC4/AWG4
    • Should be used for all LogC4 images
    • Improved color fidelity

  • Backwards Compatible

    • ALEXA 35 images can be intercut with other ALEXA or AMIRA images
    • Additionally, ALEXA LF/Mini LF ARRIRAW can use REVEAL Color Science workflow

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.

Seamus McGarvey_Quote_Colors-web

Seamus McGarvey ASC, BSC


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.

Barnabas Emordy_Quote_More_colors-web

Barnabas Emordi


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

Yoshikatsu Date

Yoshikatsu Date


More on-set creative control than ever before
ARRI Textures let you tune how ALEXA 35 'sees' the world
Evolving menu of textures for different shooting environments and visual styles

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.

Nostalgic G733
K445 Default
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.

Nostalgic G733
K445 Default
K445 Default
G733 Nostalgic

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.

Nik Summerer, Cinematographer, Textures

Nikolaus Summerer


The texture settings that will emulate film embedded in the sensor are kind of game-changing. Over the years I have tried to make digital look like film...we have not been close to this.

Andreas Luksepp, cinematographer, sensor

Andreas Luksepp


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.

Mike Valentine, shooting a scene

Mike Valentine BSC


4.6K Super 35 sensor

Wide lens choice

ALEXA 35 can be used with a vast array of lenses--modern and vintage, anamorphic and spherical, Super 35 and large-format. If you want to shoot with ARRI cameras while fulfilling native 4K mandates, you now have an immeasurably broader lens choice.

19 recording formats

A total of 19 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. Learn more >

Lens Choice
BTS_Encounters_Korea_1 (1)
BTS_Encounters_Argentina_1 (1)

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 Explorer
ARRI 35_Web_Explorer_Intro_1080x1920_3
ALEXA 35 Accessories Explorer

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.

ALEXA 35 long term investment

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

Camera Companion App
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 / 1.102x 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
3.3K 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"
3.3K 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)
3.3K 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 3.3K 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 monitor
Viewfinder Technology
OLED viewfinder display
LCD fold out monitor
Viewfinder Resolution (pixel)
1920 x 1080
Viewfinder Diopter
Adjustable from -5 to +5 diopters
Color Output
Rec 709
Rec 2020
Rec 2100 PQ
Rec 2100 HLG
Custom Look (ARRI Look File ALF-4)
Look Control
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)
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 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
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
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 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