ARRI ALEXA 35 Production Set – 15mm

£85,840.71 Ex VAT



The ALEXA 35 is a revolutionary 4K Super 35 camera from ARRI, designed to take digital cinematography to new heights. With its first new sensor in 12 years, it offers 2.5 stops more dynamic range, film-like highlight handling, improved low light performance, and richer colours.

The new REVEAL Colour Science takes full advantage of the sensor’s image quality, providing a fast and simple workflow. ARRI Textures also enhance in-camera creative control. The camera is easy to operate, built to last, and comes with new electronic accessories and a complete new mechanical support system.

One of the key features of the ALEXA 35 is its impressive dynamic range of 17 stops, far surpassing any other digital cinema camera. This allows filmmakers to capture more detail in both highlights and shadows, while maintaining a natural and film-like highlight roll-off. Sophisticated stray-light suppression ensures that each lens’s full character and contrast range is captured, making it easier to handle any lighting conditions on set.

The ALEXA 35 also boasts impressive sensitivity settings, ranging from EI 160 to EI 6400, making it a “High ISO” camera. An optional Enhanced Sensitivity Mode can be applied for settings between EI 2560 and EI 6400, producing an even cleaner image in low light. This exceptional sensitivity, combined with the wider dynamic range and truer contrast, allows for stunning images in a variety of shooting situations.

The camera’s new sensor and REVEAL Colour Science work together to produce more accurate colours with subtle tonal variations. Skin tones are rendered in a flattering and lifelike way, while highly saturated colours and typically challenging shades are captured with incredible realism. Filmmakers have the ability to choose from a variety of custom ARRI Textures, allowing for more creative control on set.

The Super 35 4:3 native 4K sensor of the ALEXA 35 allows for a wide range of lens options, including modern and vintage, anamorphic and spherical, Super 35 and large format. With 19 recording formats, this camera offers versatility and flexibility for any project.

Dynamic Range: 17 Stops
Native ISO: ISO 800
Lens Mount: LPL Mount
Recording Formats: ARRIRAW
Internal ND: Yes
Audio Inputs: 1x 6-pin Lemo
Shutter: Rolling (Electronic)
Media Type: ARRI Codex Compact Drive
Resolution and Frame Rate: 4608×3164 @ 75 fps
Sensor: CMOS
Video Outputs: 1x BNC 12G-SDI
Weight: 2-5kg
Wi-Fi: Yes
1 x K1.0039373 ALEXA 35 camera body
1 x 10.0043678 ALEXA 35 Cine License
1 x K2.0018983 ARRI LPL Mount (LBUS)
1 x K2.0016936 ARRI PL-to-LPL Adapter
1 x K2.0034180 Balance Utility Dovetail BUD-1
1 x K2.0023751 B-Mount Battery Adapter
1 x K2.0020916 Multi Viewfinder MVF-2
1 x KK.0048851 Camera Control Monitor CCM-1 Set
2 x K2.0042857 Cable VF Right Angle (0.5m/1.5ft)
1 x K2.75007.0 Camera Power Cable Straight 2m/6.6in KC-50
1 x K2.0024101 Power Distribution Module PDM-1
1 x KK.0041533 Production Support Set – Top
1 x KK.0041534 Production Support Set – Side
1 x KK.0041536 Production Support Set – Bottom (15mm)
2 x K2.0024130 CODEX Compact Drive 1TB (CA08-1024)
1 x K2.0023447 CODEX Compact Drive 2TB (CB16-2048)


ALEXA 35 is a 4K Super 35 camera that elevates digital cinematography to unprecedented heights. ARRI’s first new sensorfor 12 years builds on the evolution of the ALEXA family over that period, delivering 2.5 stops more dynamic range, film-like highlight handling, better low light performance, and richer colours.

The new REVEAL Colour Science takes full advantage of the sensor’s image quality and provides a fast, simple workflow, while ARRI Textures enhance in-camera creative control. Easy operation, robust build quality, new electronic accessories, and acomplete new mechanical support system round out the ALEXA 35 platform.

More dynamic range with filmic highlight roll-off

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.

More sensitivity up to EI 6400, with lower noise

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 aneven cleaner image in low light. This exceptional sensitivity, combined with the wider dynamic range and truer contrast, allows ALEXA 35 to capture the most delicate nuances of light and shadow in a wider range of shooting situations. Filmmakers can work with available light in real locations, safe in the knowledge that even at extreme ISO values, any noise will have a pleasingly film-like structure.

More accurate colours from bold hues to subtle tones

Introduced alongside the ALEXA 35 is REVEAL Colour Science, which is the collective name for a suite of image processing steps that, along with the new sensor, help the camera to record more accurate colours with subtler tonal variations. Skin tones of all types and colours are rendered in a flattering, lifelike way. Highly saturated colours such as those in neon signs or car brake lights are captured with incredible realism, as are typically challenging colours like cyan, burgundy, and pastel shades. Overall, the true-to-life colour fidelity and amazing resolving power of the sensor make for beautiful, immersive images.

More creative control. ARRI Textures – choose your digital film stock

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. Previous ALEXA cameras were pre-programmed with a default texture, but with ALEXA 35 you can choose from an evolving menu of custom ARRI Textures, either to suit a specific shooting environment or to hone your look. This allows you to fundamentally alter the way the camera records images, much like selecting a film stock

Super 35 sensor wide lens choice, 19 recording formats

With its Super 35 4:3 native 4K sensor, ALEXA 35 can be used with the vast global inventory of existing lenses—modern and vintage, anamorphic and spherical, Super 35 and large format. Filmmakers wanting to shoot with ARRI cameras while having to fulfill 4K mandates now have an immeasurably broader lens choice.
A total of 19 recording formats, incorporating efficient in-camera downsampling and anamorphic de-squeezing, allow productions to optimize data rate, resolution, and other parameters, based on their individual needs. Mixed Reality Productions (MRP) will benefit from the camera’s ability to record lens metadata in all common standards and output real-timestreaming metadata to ARRI’s Live Link Metadata Plug-in for Unreal Engine.

Faster workflow, higher image quality

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 Colour 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. It includes an improved debayering algorithm for cleaner compositing, a new colour engine for more accurate colour reproduction, a new wide gamut native colour space for faster grading, new LogC4 encoding to contain the increased dynamic range, and new LogC4 LUTs (Look Up Tables) for enriched colour fidelity.

Fast and easy to use. A single, rugged camera that can do it all

ALEXA 35 is the smallest fully featured ARRI production camera ever, packing the features and processing power of a larger ALEXA intoa Mini-sized body. Crews will be intuitively familiar with the simple menu structure; support for 1TB and 2TB Codex Compact Drives; andMVF-2 viewfinder, now with HDR. Fast and easy operation is assured through usability improvements such as a new left-side display and additional user buttons. Temperature resistant, splash and dust-proof, and conceived with future hardware and software updates in mind, ALEXA 35 is the best A-camera, B-camera, and drone or gimbal camera on the market, all rolled into one.

Support for any situation. Electronic accessories and mechanical support

ARRI has crafted a new line of bespoke ALEXA 35 accessories that expand the camera’s capabilities and ensure maximum speed andversatility on set. Closely integrated electronic accessories offer additional power outputs or extended audio features. A complete new setof 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 is available in sales sets that group together components suitable for different shootingstyles and production types, with further accessories and system options facilitating countless setups.

Powering the future. B-Mount, the new 24 V standard

ALEXA 35 utilizes the B-Mount battery interface, an open industry standard endorsed by ARRI and thewider industry. Providing high-capacity 24 V power, but also able to support 12 V, B-Mount offers more efficiency and improved data communication over previous systems. Cross-compatible with camera, lighting, and stabilizer equipment from manufacturers worldwide, it enables productions to streamline their power requirements


Sensor Type Super 35 format ARRI ALEV 4 CMOS sensor with Bayer pattern colour filter array
Sensor Photosites and Size 4608 x 3164 / Ø 33.96 mm / 1.337″
Sensor Frame Rates 0.75 – 120 fps
Project Frame Rates 23.976, 24, 25, 29.97, 30, 47.952, 48, 50, 59.94, 60 fps
Weight 2.9 kg / 6.4 lbs (camera body with three antennas and LPL Mount (LBUS))
Photosite Pitch 6.075 μm
Active Image Area (Dimensions):
4.6K 3:2 Open Gate 28.00 x 19.20 mm / 1.102 x 0.756″
4.6K 16:9 28.00 x 15.70 mm / 1.102 x 0.618″
4K 16:9 24.90 x 14.00 mm / 0.980 x 0.551″
4K 2:1 24.90 x 12.40 mm / 0.980 x 0.490″
3.3K 6:5 20.22 x 16.95 mm / 0.796 x 0.693″
3K 1:1 18.70 x 18.70 mm / 0.737 x 0.737
2.7K 8:9 16.70 x 18.70 mm / 0.656 x 0.738″
2K 16:9 S16 12.40 x 7.00 mm / 0.490 x 0.276″
Image Circle:
4.6K 3:2 Open Gate 33.96 mm / 1.337″
4.6K 16:9 32.10 mm / 1.264″
4K 16:9 28.57 mm / 1.125″
4K 2:1 27.82 mm / 1.095″
3.3K 6:5 26.38 mm / 1.039″
3K 1:1 26.45 mm / 1.041″
2.7K 8:9 25.09 mm / 0.988″
2K 16:9 S16 14.24 mm / 0.561″
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
Recording Resolution (Pixel) – Max fps* (1TB / 2TB Drive):
4.6K 3:2 Open Gate 4.6K (4608 x 3164) – 35 / 75 fps (ARRIRAW), 60 / 60 fps (Apple ProRes)
4.6K 16:9 4.6K (4608 x 2592) – 45 / 75 fps (ARRIRAW)
4K (4096 x 2304) – 75 / 75 fps (Apple ProRes)
4K 16:9 4K (4096 x 2304) – 55 / 120 fps (ARRIRAW), 100 / 100 fps (Apple ProRes)
UHD (3840 x 2160) – 120 / 120 fps (Apple ProRes)
2K (2048 x 1152) – 120 / 120 fps (Apple ProRes)
HD (1920 x 1080) – 120 / 120 fps (Apple ProRes)
4K 2:1 4K (4096 x 2048) – 65 / 120 fps (ARRIRAW), 120 / 120 fps (Apple ProRes)
3.3K 6:5 3.3K (3328 x 2790) – 55 / 100 fps (ARRIRAW), 75 / 75 fps (Apple ProRes)
4K 2.39:1 Ana. 2x (4096 x 1716) – 90 / 90 fps (Apple ProRes)
3K 1:1 3K (3072 x 3072) – 55 / 100 fps (ARRIRAW), 90 / 90 fps (Apple ProRes)
3.8K 2:1 Ana. 2x (3840 x 1920) – 100 / 100 fps (Apple ProRes)
2.7K 8:9 UHD 16:9 Ana. 2x (3840 x 2160) – 100 / 100 fps (Apple ProRes)
2K 16:9 S16 2K (2048 x 1152) – 120 / 120 fps (Apple ProRes)
Exposure Index Adjustable from EI 160 – 6400 in 1/3 stops
Dynamic Range 17 stops (2.5 more than with previous ALEXA cameras)
Shutter Electronic shutter, 5.0°- 356° or 1s – 1/8000s
Recording Codecs 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 Modes Standard real-time recording, Pre-recording
Viewfinder Type Multi Viewfinder MVF-2 with OLED viewfinder display (1920 x 1080) and 4″ LCD flip-out monitor (800 x 400)
Viewfinder Diopter Adjustable from -5 to +5 diopters
Colour Output Rec 709, Rec 2020, Rec 2100 PQ, Rec 2100 HLG, LogC4
Look Control ARRI Textures
Custom colour look (through ARRI Look File ALF4 or ARRI Look Library)
White Balance Manual and auto white balance, adjustable from 2000K to 11000K
Colour correction adjustable 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
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 Colour, Zoom, Aperture and Colour Peaking
Audio Recording 4 channel linear PCM (24 bit, 48 kHz)
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
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)
1x Top Interface (5-pin Pogo)
Audio Inputs 1x AUDIO (LEMO 6-pin) for balanced stereo line in
(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 Outputs 1x 3.5 mm stereo headphone connector (on MVF-2)
2x SDI (embedded audio)
Power Inputs 1x PWR (LEMO 8-pin)
1x BAT (camera rear interface / battery adapter)
20.5 – 33.6 V DC
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
Remote Control Options Camera Companion App
ARRI Electronic Control System (ECS)
Web-based remote control from phones, tablets and laptops via WiFi & Ethernet
Camera Access Protocol (CAP) via WiFi & Ethernet
GPIO interface for integration with custom control interface
Wireless Interfaces Built-in WiFi module (IEEE 802.11b/g)
Built-in White Radio for ARRI ECS lens and camera remote control
Lens Mounts & Adapters ARRI LPL Mount (LBUS)
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 Consumption ~ 90 W (Camera body and MVF-2)
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 @ 0-95% RH
Storage Temperature -30° C to +70° C / -22° F to +158° F
IP Rating IP 51
Sound Level < 20 dB(A) at 30 fps, recording 4K 16:9 - UHD, Apple ProRes 4444 XQ, ≤ +30° ambient temperature Licenses ALEXA 35 Cine License


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