Introduction
The ARRI ALEXA 265 marks a groundbreaking addition to the world of high-end cinematography. Featuring a compact structure armed with state of the art ALEV 3x medium-format sensor, the ALEXA 265 delivers unparalleled image quality, dynamic range, and workflow integration. This camera aligns with ARRI’s legacy of innovation while setting a new standard for narrative and commercial filmmaking. Medium-format cinematography has become an industry focus, with increasing demand for richer visuals and immersive storytelling. The ALEXA 265 answers this demand by combining the benefits of medium-format sensors—such as a shallow depth of field and enhanced color fidelity—with the reliability filmmakers expect from ARRI. This article includes detailed FAQs addressing the camera’s specifications, and its place in the competitive landscape. It also provides a comprehensive analysis of ARRI’s strategic goals, highlighting its efforts to lead the shift toward large-format and medium-format cinematography. Additionally, we showcase exclusive test footage to explore the ALEXA 265’s real-world performance and discuss its potential to redefine cinematic storytelling. Explore how the ALEXA 265 represents ARRI’s vision for the future of filmmaking and positions itself as the pinnacle of professional cinema cameras.
ARRI ALEXA 265FAQ
Let’s start with the FAQ (Frequently Asked Questions) about the ARRI ALEXA 265:
How much more compact is ALEXA 265 than ALEXA 65?
ALEXA 265 is about one-third the size and weight of ALEXA 65. So, weight has reduced from 10.5 kg to 3.3 kg, and dimensions from (163 mm H x 206 mm W x 388 mm L) to (147 mm H x 163 mm W x 191 mm L).
Does the ALEXA 265 have a new sensor?
Yes, a comprehensive sensor revision has resulted in the new 6.5K ALEV3X Revision B sensor, incorporating new hardware, not just new software.
Why didn’t you stitch the ALEXA 35 sensor?
The ALEXA 35 sensor was purposed-designed for Super 35 and for technical reasons it cannot be stitched.
Is the ALEXA 265 image better than ALEXA 65?
Yes. Higher dynamic range, higher sensitivity, richer blacks, more accurate colors.
Can I use my old ALEXA 65 LUTs?
No. Since the camera processes images with REVEAL Color Science, it inherently uses LogC4, so you will have to build new LUTs, like with the ALEXA 35. If you already have ALEXA 35 LUTs, you can use those with ALEXA 265.
Does the ALEXA 265 have the same feature set as ALEXA 35?
Mostly, yes, apart from a couple features, such as ES modes and a pre-set selection of ARRI Textures. On the hardware side, the ALEXA 265 has a revolutionary and flexible filter mechanism that is not shared with ALEXA 35. However, the entire ALEXA 35 accessory and support set can be used with ALEXA 265, other than one modified side bracket.
Does it have ARRI Textures?
No, not currently, but ARRI is always open to dialogue.
Does it have a 4K monitoring output?
It has UHD or HD monitoring, in SDR or HDR or both.
Can I still use Codex HDE (High Density Encoding)?
Yes you can. It is a great way to save on data costs, while maintaining full image quality.
Do I still need a Codex Vault?
No. The ALEXA 265 workflow is no different than for other current ARRI cameras, and involves no external processing. You just shoot, take the Codex Compact Drive out of the camera, and put it in a standard drive reader or dock.
What are the recording formats?
ARRIRAW only, in three sensor modes: 6.5K / 5.1K / 4.5K LF OG.
Will other filters be available that fit the ALEXA 265 cartridge slider?
Yes. Established filter manufacturers are looking into options, and ARRI is exploring all kinds of different creative possibilities for the filter system.
Does the ALEXA 265 have anamorphic de-squeeze?
Yes. There are a number of different de-squeeze ratios available, as well as custom frame lines.
Technical data
- Sensor: 65 mm format ARRI A3X Rev.B CMOS sensor with Bayer pattern color filter array
- Sensor resolution: 6560 x 3100, 54.12 x 25.58 mm / 2.130 x 1.007″, Ø 59.86 mm / 2.357″
- Frame rates: 0.75 – 60 fps
- Weight: ∼3.3 kg / 7.3 lbs (camera body with three antennas and LPL Mount (LBUS))
Sample footage
Check out these movies shot with the ALEXA 265:
Discussion: ALEXA 265 and the future of medium format cinema
The ARRI ALEXA 265, unveiled as a compact medium-format cinema camera, represents a strategic leap in ARRI’s storied history. This camera is a response to the growing demand for medium-format cinematography, offering filmmakers unprecedented image quality, dynamic range, and versatility. Leveraging insights from industry trends and ARRI’s historical dominance in cinema, the ALEXA 265 positions itself as the pinnacle of high-end filmmaking technology. To explore the ALEXA 265’s significance, we delve into ARRI’s strategy, the evolving landscape of medium-format cinematography, and its competitive context.
ARRI ALEXA 265Why Medium Format and Why Now?
The decision to focus on medium-format cinema aligns with broader industry trends. Over the past decade, medium-format sensors have gained popularity for their ability to deliver superior image quality. Cameras like the newly announced Fujifilm’s GFX ETERNA, a bold medium-format entry aimed at indie filmmakers, signal an industry-wide pivot towards larger sensors and richer imagery (Fujifilm GFX ETERNA Announced). Similarly, ARRI’s move reflects a growing demand for more immersive visual storytelling, with larger sensors offering a shallow depth of field, higher resolution, and improved color fidelity. These characteristics are increasingly sought after, as evidenced by industry debates on the philosophy behind cinema camera sensor sizes, which highlight medium format as a natural progression in cinematic evolution (The Philosophy Behind Cinema Cameras’ Sensor Sizes).
ARRI’s Strategic Goals with the ALEXA 265
Reasserting Industry Leadership
ARRI is no stranger to innovation. By introducing the ALEXA 265, it not only capitalizes on the medium-format trend but also reasserts its position as the gold standard in cinema. This camera is designed to challenge rivals such as the Blackmagic URSA 65, which has drawn attention for its affordability and compatibility with a wide range of cinema lenses (What Cinema Lenses Can Be Used with the URSA 65?). However, ARRI distinguishes itself by focusing on a compact, high-end product that merges medium-format performance with the reliability and workflow integration for which ALEXA cameras are renowned.
Bringing Medium Format to Narrative Filmmaking
While medium format has traditionally been associated with still photography and specific commercial applications, ARRI’s ALEXA 265 aims to make it a mainstream choice for high-end narrative cinema. The URSA Cine 17K previously introduced IMAX-quality filmmaking to independent creators, proving there is a market for extreme resolution and sensor performance (URSA Cine 17K: Bringing IMAX Filmmaking to the Masses). ARRI’s focus, however, is on balancing high-end production values with the practicality demanded by professional sets.
Medium Format: A Growing Battleground
The ALEXA 265 enters an increasingly competitive landscape. Sony, for instance, has developed a 247MP medium-format sensor capable of 19K resolution, though it has yet to release a dedicated medium-format cinema camera (Sony Developed a Medium Format 247MP 19K Sensor). Meanwhile, speculation persists about Sony’s potential entry into medium-format cinema, signaling how this segment has become the next frontier for innovation (Will Sony Ever Release a Medium Format Cinema Camera?). ARRI’s decision to focus on compactness and workflow integration with the ALEXA 265 may provide a critical edge, particularly as filmmakers seek tools that combine cutting-edge technology with user-friendly features, and more options on set (drones and gimbals).
Challenges and Opportunities
Lens Ecosystem
One challenge for medium-format cameras is lens compatibility. ARRI’s competitors, like Blackmagic with its URSA 65, have prioritized compatibility with existing cinema lenses (What Cinema Lenses Can Be Used with the URSA 65?). For ARRI, ensuring the ALEXA 265 supports a wide range of lenses will be crucial to its adoption.
Defining the New Standard
ARRI’s move also reflects the industry shift toward large-format cinematography, which has gradually supplanted Super 35 as the preferred standard (Large-Format Cinematography as the New Standard: Obsolescence of S35). By offering a compact medium-format option, ARRI positions itself as a leader in setting this new benchmark.
ARRI ALEXA 265The Cinematic Impact of the ALEXA 265
The ARRI ALEXA 265 is more than a camera; it’s a strategic play to shape the future of cinema. By focusing on medium format, ARRI aims to redefine how stories are told, combining cutting-edge technology with its legendary image quality. As medium format becomes the new standard, ARRI’s commitment to innovation, demonstrated through the ALEXA 265, ensures it remains at the forefront of cinematic storytelling. This camera is not just a response to industry trends—it’s a declaration of ARRI’s vision for the future of filmmaking. However, you will not be able to buy it, and there’s no indication of a price. The ALEXA 265, like the ARRI 65, is a rental-only camera.
Still looks like video. Clean crispy video.
Film looks better.