All the information on the ARRI ALEXA 35 is out (apart from the price). A decent amount of sample footage will be available in two hours, so we’ll be updating the article in real-time. But now, all the main details are below. Update: Scroll down below the article to reveal 10 short films shot on the ALEXA 35. 

ALEXA 35: The smallest ARRI ever made

The 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. According to ARRI, the ALEXA 35 is the best A-camera, B-camera, and action camera on the market, all rolled into one. Explore the full brochure here.

Super 35: 4.6K – ALEV 4

ALEXA 35 is a Super 35 format (27.99 x 19.22 mm / 1.102 x 0.757″ size 4.6K sensor) digital camera with a maximum frame rate of 120 fps and internal motorized FSND filters (Clear, ND 0.6, ND 1.2, ND 1.8). It records MXF/ARRIRAW or MXF/Apple ProRes (422 HQ, 4444 or 4444 XQ) onto one in-camera Codex Compact Drive 1TB or 2TB. The two built-in wireless radios with separate external antennas allow interference-free transmission of WiFi and ARRI Electronic Control System (ECS) white radio signals. Exposure is controlled through an electronic rolling shutter (5.0° – 356°). The sensor is a new sensor from ARRI titled ALEV 4. This sensor might become ARRI’s most important technological achievement, implying ARRI’s next generations of cinema cameras — Article here. 

New side display

The ALEXA 35 owns a new interface allowing you to view status and change settings without a viewfinder via the new camera’s left-side display and jog wheel. 

Below you can watch the ALEXA 35 Keynote Presentation by ARRI:

Adaptivity

Five interchangeable lens mounts, two scratch mics, and internal FSND filters make ALEXA 35 ideal for changing shooting requirements. ARRI states that ACs will love the body-mounted LBUS connector, built-in serial port for distance measuring devices, and hot-pluggable viewfinder.

Check out the ALEXA 35 Guided Tour: 

Integrated electronic modules

A Power Distribution Module PDM-1 offers seven extra power accessory outputs, while the Audio Extension Module AEM-1 provides two incredibly clean microphone preamp channels for onboard audio recording, as well as extra power outputs. Furthermore, the ALEXA 35 offers a host of inputs and outputs. 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.

Choose your own set (Production and Lightweight sets)

The ALEXA 35 Production Set is a camera and support system package that has been designed to suit the workflow of a traditional camera department. This set contains an ALEXA 35 camera with LPL Mount (LBUS), PL-to-LPL Adapter, MVF-2 viewfinder, Power Distribution Module PDM-1, and ALEXA 35 Cine License (ARRIRAW and Open-Gate-width recording formats). The ALEXA 35 Lightweight Set has been designed for situations where a small, yet comprehensive camera package is preferred. This set contains an ALEXA 35 camera with LPL Mount (LBUS), PL-to-LPL Adapter, MVF-2 viewfinder, ALEXA 35 Cine License (ARRIRAW and Open-Gate-width recording formats).

ARRI REVEAL

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 green screens
• 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
• The 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 the new sensor and LogC4/AWG4
• Should be used for all LogC4 images
• Improved color fidelity

Backward Compatible

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

ARRI Texture

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. This unique feature allows cinematographers to fundamentally alter the way in which the camera records images. ARRI says that it is a major step forward in giving filmmakers creative control over the parameters of digital cinematography.

Temperature resistant, splash and dust-proof

ARRI emphasizes that before shipping, every ALEXA 35 undergoes extreme temperature and vibration tests to ensure a lifetime of reliable service onset. 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.

Full ALEXA 35 specifications

Here are the full specifications of the ALEXA 35

• 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
• Weight∼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
• Shutter: Electronic shutter, 5.0°- 356° or 1s – 1/8000s
• Recording Formats: MXF/ARRIRAW | 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 | Pre-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 | LogC4 | 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
• Filters: 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 | Zoom | 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
• 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 LPL Mount (LBUS) | ARRI PL-to-LPL Adapter | ARRI PL Mount (LBUS) | ARRI PL Mount (Hirose) | ARRI EF Mount (LBUS) | 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 dustproof through sealed electronics, IP 51
• Software Licenses: ALEXA 35 Cine License

Price and availability

No info yet (we’ll update the article in real-time in regard). Update: here are the prices: ALEXA 35 Production Set: $77,940 USD. ALEXA 35 Lightweight Set: $75,100 USD. ALEXA 35 Body & ARRI LPL Mount Set: $64,880. 

Sample footage

Now to the most important part – sample footage

Currently, this is the footage we found so far (link1 and link2). However, as ARRI publishes more footage (there are at least 10 short films shot on the ALEXA 35), we’ll update the article accordantly (real-time) – stay tuned. Update: Sample footae including short films shot on the ALEXA 35 are below. Enjoy!