ALEXA 35 Xtreme

More speed. Less data.

The ALEXA 35 Xtreme is a major revision of the industry’s trusted workhorse—ALEXA 35, known for its superior image quality, ease of use, and reliable operation. Building on its predecessor’s solid foundation, ALEXA 35 Xtreme introduces powerful new hardware, higher speeds for breathtaking slow-motion images, and the efficient ARRICORE codec.

ALEXA 35 Xtreme continues a long tradition at ARRI of high-speed motion picture cameras. New hardware allows frame rates up to 330 fps while maintaining full dynamic range, and a new codec and Sensor Overdrive mode double the limit to 660 fps.

ARRI’s next-generation RGB codec makes the highest image quality more affordable by using cutting-edge image science to reduce data rates. The file sizes might be smaller, but maximum creative flexibility in postproduction remains.

ARRI is offering an upgrade that transforms any previously sold ALEXA 35 into an ALEXA 35 Xtreme. This extends the product life and the return on investment for customers, giving them access to future enhancements enabled by the state-of-the-art new processing unit.

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Frame rates up to 660 fps

One camera for all speed requirements

Easy matching of high-speed shots in post

ALEXA 35 Xtreme removes the need to carry a separate high-speed camera on most shoots. This streamlines production workflows, saves time and money, and ensures that high-speed footage matches seamlessly with standard-speed shots in post. These benefits are enabled by the new main processor, equipped with more and faster on-board memory. Frame rates up to 330 fps retain the camera’s full 17 stops of dynamic range, while a Sensor Overdrive mode allows frame rates up to 660 fps at a dynamic range of 11 stops.

The new Sensor Overdrive mode unlocks higher maximum frame rates by reducing sensor read-out times. It is designed for situations where extreme slow-motion is required, prioritizing frame rate by making trade-offs with other image parameters: the camera’s dynamic range decreases by six stops in the highlights and its base sensitivity increases to EI 1600. Sensor Overdrive mode requires careful consideration of exposure settings and should only be used in controlled lighting environments.

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Complementing ALEXA 35 Xtreme and included with both the Base and Premium models is ARRICORE, ARRI’s next-generation RGB codec. Designed to deliver the camera’s exceptional image quality at a more accessible cost by reducing data rates, ARRICORE also provides flexibility in post, since sensitivity, white balance, and tint are not baked in.

Switching to ARRICORE is easy because on-set and post workflows remain consistent with existing ALEXA 35 codecs and drives. The ALF4 ARRI Look File, ARRI Textures, metadata, audio, and the MXF wrapper will all behave in a familiar way. ARRICORE is launching in beta to actively engage users and drive rapid enhancement of its capabilities through direct feedback. Most third-party tools that already support the current ALEXA 35 codecs will also support ARRICORE.

More about ARRICORE

Powerful new hardware

ALEXA 35 Xtreme looks the same as ALEXA 35 on the outside, but inside there are some comprehensive hardware upgrades. A powerful new main processing board enables faster data processing and quicker access to the increased on-chip memory, while the redesigned cooling system ensures stable performance, even during continuous high-load operation.

Pre-recording times are five times longer, reaching up to five minutes, depending on the recording format. This simplifies high-speed capture for everyone and is essential for documentary filmmakers.

As a result of its hardware and processing upgrades, the ALEXA 35 Xtreme consumes 10% less power than the ALEXA 35. Whether you're on location or in the studio, this improvement means more efficiency, less heat, and extended battery life—without compromising performance.

Better wireless connectivity to accessories and tools like the ARRI Camera Companion App through compatibility with the WiFi 5 GHz band, WiFi roaming, and auto-reconnect to previously known networks.

Evolving technology, unchanging excellence

While the Xtreme upgrade significantly expands the capabilities of the ALEXA 35 camera system, its core strengths remain unchanged: industry-leading image quality from the 4.6K Super 35 sensor, robust build, intuitive workflows, and trusted reliability. ALEXA 35 electronic and mechanical accessories, CODEX Compact Drive media, and the Live Production System LPS-1 all remain compatible with ALEXA 35 Xtreme.

Incredible dynamic range

Capturing an impressive 17 stops of dynamic range, the camera renders exceptionally filmic highlight roll-off and deep shadow detail. Built to handle any lighting situation with ease, it is the ultimate acquisition tool for HDR workflows and future-proof content, providing unparalleled flexibility in postproduction.

Find out more

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Enhanced sensitivity

As a high-sensitivity camera, ALEXA 35 Xtreme offers sensitivity settings from EI 160 to EI 6400 while maintaining low noise and exceptional color accuracy across all exposure levels. The Enhanced Sensitivity mode ensures even cleaner images in low-light environments and is an especially powerful tool when combined with in-camera Shadow ARRI Textures.

Find out more

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True-to-life colors

ARRI’s REVEAL Color Science renders skin tones naturally and beautifully, capturing the subtlest of tonal variations to enhance emotional depth and visual immersion. Despite its state-of-the-art innovations, the REVEAL workflow is simple and efficient, delivering stunning, worry-free results.

Explore REVEAL Color Science

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On-set creative control

ARRI Textures offer an evolving menu of in-camera looks that allow cinematographers to fine-tune the grain in the image and the amount of contrast at different levels of detail—almost like choosing a film stock. With textures, users can make decisions on set about how ALEXA 35 Xtreme “sees” the world.

Discover ARRI Textures

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ALEXA 35 image quality. Trusted by the best.

Filmmakers on ALEXA 35 Xtreme

Elias Maria BVK

Cinematographer

The ALEXA 35 Xtreme opens up new ways and new worlds. I started out in action sports with sailing and skiing, which both involve extreme lighting and contrast, so being able to shoot at 240 fps with the full 17 stops of dynamic range is an amazing new tool...By playing with different frame rates, you find that you’re creating depth through motion. You go beyond composition, blocking, and lighting to a place where the real depth comes from layering different speeds.

Ayana Baraka

Cinematographer

For me, the ALEXA 35 Xtreme is the most complete camera system ARRI has ever delivered. It elevates the unparalleled ARRI color science and skin tone accuracy we rely on with next-gen capabilities that redefine what’s possible on set. Shooting at 240 fps with ARRICORE, I was blown away by the clarity, dimensionality, and emotional depth of the image. This camera doesn’t just capture a scene; it pulls you into it. The new high-efficiency codec and high-speed workflow make it a true powerhouse for modern productions.

Stijn Van der Veken ASC, SBC

Director of photography

The ALEXA 35 was already my favorite camera because of its dynamic range, and the new ALEXA 35 Xtreme now also gives me super high frame rates. Shooting with the Xtreme was a real revelation, using different speeds to enhance peoples’ emotions on screen, all with the same camera.

Jeff Berlin

Cinematographer

As a DP in fashion and beauty, the ALEXA 35 is my go-to camera. Its images are lovely – painterly yet accurate color, pleasing skin tones and texture, all essential in this field. With the ALEXA 35 Xtreme’s higher frame rates, I can now linger in emotion and dreams in the image quality I’m known for.

Alex Salahi

Director of photography

The ALEXA 35 Xtreme’s slow-motion capabilities open up incredible possibilities to capture the dynamics of any action with the color science I love. Even in Sensor Overdrive mode, which reduces latitude, I felt I had solid control over exposure. It felt like I was getting more than the advertised 11 stops.

I shot with anamorphic lenses in 4.6K Open Gate, with the full 17-stop dynamic range at 120 fps, capturing natural-looking slow motion with remarkable texture and detail. At 660 fps in Sensor Overdrive mode, I was able to capture incredibly unique moments with minimal effort. Freezing time at that speed revealed layers of emotion and movement otherwise invisible.

Charles Bergquist

Cinematographer

The ALEXA 35 Xtreme gives us a new perspective of what high-speed cinematography looks like. Almost every project I work on calls for high-speed work at some point—now I can do everything with a single camera and keep my image consistent through a variety of changing artistic needs. The richness of the ALEXA 35 sensor is retained at frame rates previously reserved for specialty cameras, creating the most versatile and adaptable image available.

Photo credit: Julio Erazo

Jan Matthys

Director

These higher frame rates open up new possibilities to explore the inner world of the characters. The ALEXA 35 Xtreme ‘reads’ their emotions and thoughts to a next level, deepening subtlety and truthfulness.

Eduardo Vertty AMC

Director of photography

Having had the opportunity of shooting with the ALEXA 35 Xtreme for a tabletop setup, which is one of the areas I work in as a DP, I found I could shoot up to the maximum frame rate of 660 fps with all the image quality I need. The innovations in this camera, and the results obtained, allowed me to keep a uniform workflow with all the support of ARRI technology.

Fast and easy operation

ALEXA 35 Xtreme is a compact, lightweight, and fully featured production camera, packing impressive functionality and processing power into a Mini-sized body. User-friendly operation is assured through numerous refinements, a simple and intuitive menu structure, and streamlined recording formats across three different codecs that cover all your needs while maximizing efficiency. ALEXA 35 Xtreme is the best A-camera, B-camera, action camera, and high-speed 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 Xtreme 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 daylight-viewable 7" Camera Control Monitor CCM-1. Both can now be operated by touch. Learn more about the CCM-1 here.

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Side display

Read status, change settings, or play back clips without a viewfinder via the camera left-side display. Great for TRINITY, Steadicam, Easyrig, drones, and cranes.

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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

Use the Codex Compact Drive 1TB or 2TB for ARRIRAW, ProRes, and ARRICORE recording, or if you only need ProRes, you can save costs with the Compact Drive Express 1TB. Learn more >

Versatile connectivity

ALEXA 35 Xtreme 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.

New WiFi antennas

Among the improvements to the ALEXA 35 Xtreme are new WiFi capabilities like WiFi 5 GHz band, WiFi roaming in a mesh network, and auto-reconnect to previously known networks, and two new antennas that improve WiFi performance in the 2.4 GHz and 5 GHz bands.

Flexible purchase options

Combining unmatched image quality with the frame rates of a specialist high-speed camera, ALEXA 35 Xtreme is uniquely versatile, making it a cost-effective rental choice and a sound investment for owner-operators. It is sold in sets, either as the fully featured ALEXA 35 Xtreme Premium model or the lower-cost Base model, which has the same image quality and a core feature set. The Base model can be flexibly upgraded via temporary or permanent feature licenses.

Entry sets from €49,800

The same feature licenses available for the ALEXA 35 Base can also be used to add specialist features to the ALEXA 35 Xtreme Base on a weekly, monthly, yearly, or permanent basis. They allow users to add specific functionality for a short-form job, a longer-term project, or a new career direction.

With the High Speed License installed, users get access to the maximum frame rates possible for all recording formats that are enabled in the camera.

The ARRIRAW License allows uncompressed, unencrypted ARRIRAW recording for all recording formats installed on the camera, providing maximum image flexibility in post.

For the ALEXA 35 Xtreme and ALEXA 35 Base models, and ALEXA 35 Live, the Open Gate/Anamorphic license enables all Open Gate recording formats as well as the anamorphic 3.3K 6:5 recording format and anamorphic de-squeeze for monitor paths. For the latter two cameras it also enables the 3K 1:1 and 2.7K 8:9 recording formats.

The Look License provides access to all ARRI Textures in the camera and on the ARRI website, the ARRI Look Library with 87 unique looks, and Custom Color Management for full control of the image processing path.

The Pre-record License equips the camera with a buffer that continually stores up to five minutes of images (with ALEXA 35 Xtreme), which are then added to the start of a clip once recording begins, allowing unpredictable events to be captured.

The Premium License is a bundle package that includes all five of the individual feature licenses detailed above: High Speed, ARRIRAW, Open Gate/Anamorphic, Look, and Pre-recording.

License details and prices

The ALEXA 35 Xtreme Base model offers an accessible path into the world of ARRI image quality. By adding the five individual licenses, the Base model becomes as fully featured as the Premium model. The Premium License achieves this in one hit by combining all five in a cost-effective bundle; in fact, the Base model plus a permanent Premium License costs the same as the Premium model.

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Meet the ALEXA 35 Xtreme

ALEXA 35 Xtreme - The Guided Tour - More Speed. Less Data.

ARRI’s Sean Dooley takes you through the exciting features and benefits of the new ALEXA 35 Xtreme. From the significantly higher frame rates and unique Sensor Overdrive mode for super slow motion, to the cost-saving but high-quality new ARRICORE codec, ALEXA 35 Xtreme is a major update that revises and replaces the ALEXA 35.
Explaining all of the technical details in easy-to-understand...

ALEXA 35 Xtreme - The Beauty of Slow Motion

Cinematographers based all over the world helped us assemble this demo reel by shooting high-speed footage with the new ALEXA 35 Xtreme. Showcasing the camera’s unique combination of industry-leading image quality and super-slow motion, the clips encompass a diverse range of sport, commercial, tabletop, promo, and narrative applications. ALEXA 35 Xtreme frame rates go up to 330 fps with the...

ALEXA 35 Xtreme - After the Rain - Shot in ARRICORE

Showcasing the dramatic effect of combining some of the higher frame rates now possible with the ALEXA 35 Xtreme, cinematographer Stijn Van der Veken ASC, SBC shot this demo reel in a forest setting outside Munich in Germany.
Working at speeds of up to 240 fps without sacrificing the color fidelity and dynamic range that have made ALEXA 35 a market leader, Stijn uses varying degrees of slow...

ALEXA 35 Xtreme - Nature of Speed

Cinematographer Elias Maria BVK teamed up with a group of elite sailors to put the new ALEXA 35 Xtreme through its paces on the choppy waters of Lake Garda in Italy. Facing changeable lighting and contrast conditions, Elias needed the full 17-stop dynamic range of the camera to capture the dark boat and sail against direct sunlight. But what he most relied on for this dynamic footage were...

Upgrade your ALEXA 35 to ALEXA 35 Xtreme

The ALEXA 35 Xtreme is available either as a brand-new camera or as an upgrade for existing ALEXA 35 models, which will retain their installed licenses. Upgrades are carried out at selected ARRI Service Centers.

Choose your set

The ALEXA 35 Xtreme is available in a choice of eight Base sets and three Premium sets that all bring accessory savings. The Base Entry Sets offer the most affordable way to acquire a lightweight, ready-to-shoot camera package and put the ALEXA 35 Xtreme at a price point comparable to the original ALEXA Mini. Owner operators and sports productions will be drawn to the Operator Sets, while the Production Sets are suited to high-end narrative productions and include accessories that would come as standard from a rental house.

Base Entry Sets
Most affordable way to get a lightweight, ready-to-shoot camera package
Comparable to ALEXA Mini set prices
Includes an ALEXA 35 Xtreme camera with a Base license (ARRICORE and ProRes recording with basic 16:9 spherical recording formats in frame rates up to 60 fps), LPL Mount (with PL-to-LPL Adapter), lightweight accessories, and CCM-1 onboard monitor
Optionally with 3x Compact Drive Express 1TB and 1x USB-C Reader
Base Operator Sets
Universal sets designed for owner-operators and sports productions
Includes an ALEXA 35 Xtreme camera with a Base license (ARRICORE and ProRes recording with basic 16:9 spherical recording formats in frame rates up to 60 fps), LPL Mount (with PL-to-LPL Adapter), Touchdown base plate system, and MVF-2 viewfinder
Optionally with 3x Compact Drive Express 1TB and 1x USB-C Reader
Optionally with PL Mount (Hirose) instead of LPL for sports market
Base Production Sets
Designed to suit the workflow of a traditional camera department
Includes an ALEXA 35 Xtreme camera with a Base license (ARRICORE and ProRes recording with basic 16:9 spherical recording formats in frame rates up to 60 fps), LPL Mount (with PL-to-LPL Adapter), MVF-2 viewfinder, production accessories, and Power Distribution Module PDM-1
Fully compatible with most rental packages for high-end narrative productions
Optionally for 15 mm or 19 mm studio rods
Premium Operator Sets
Universal sets designed for owner-operators and sports productions
Includes an ALEXA 35 Xtreme camera with a Premium license (frame rates up to 660 fps, ARRICORE, ARRIRAW and ProRes recording, all Open Gate-width and anamorphic recording formats, in-camera anamorphic de-squeeze, pre-recording, and look [ARRI Textures, ARRI Look Library, and Custom Color Management]), LPL Mount (LBUS), PL-to-LPL Adapter, Touchdown base plate system, and MVF-2 viewfinder
Premium Production Sets
Designed to suit the workflow of a traditional camera department
Includes an ALEXA 35 Xtreme camera with a Premium license (frame rates up to 660 fps, ARRICORE, ARRIRAW and ProRes recording, all Open Gate-width and anamorphic recording formats, in-camera anamorphic de-squeeze, pre-recording, and look [ARRI Textures, ARRI Look Library, and Custom Color Management]), LPL Mount (LBUS), PL-to-LPL Adapter, MVF-2 viewfinder, production accessories, and Power Distribution Module PDM-1
Fully compatible with most rental packages for high-end narrative productions
Optionally for 15 mm or 19 mm studio rods

Explore ALEXA 35 Xtreme camera sets

Technical Data

Model

ALEXA 35 Xtreme

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 / 1.102 x 0.757"
Ø 33.96 mm / 1.337"

Sensor Frame Rates

0.75 - 660 fps*

Weight

∼3.0 kg / 6.6 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
3.8K 16:9: 3840 x 2160
3.8K 2.39:1: 3840 x 1608
3.3K 6:5: 3328 x 2790*
2K 16:9 S16: 2048 x 1152
HD 16:9 S16: 1920 x 1080

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"
3.8K 16:9: 23.3 x 13.1 mm / 0,918 x 0.516"
3.8K 2.39:1: 23.3 x 9.8 mm / 0.918 x 0.386"
3.3K 6:5: 20.22 x 16.95 mm / 0.796 x 0.693"
2K 16:9 S16: 12.4 x 7.0 mm / 0.490 x 0.276"
HD 16:9 S16: 11.7 x 6.6 mm / 0.461 x 0.260"

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 16:9: 4K (4096 x 2304)
3.8K 16:9: UHD (3840 x 2160)
3.8K 2.39:1: 3.8K (3840 x 1608)
3.3K 6:5: 3.3K (3328 x 2790), 4K (4096 x 1716)
2K 16:9 S16: 2K (2048 x 1152)
HD 16:9 S16: HD (1920 x 1080)

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, 1.0°- 356° or 1s - 1/8000s

Recording Formats

MXF/ARRIRAW*
MXF/ARRICORE
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)
Codex Compact Drive Express 1TB (CP08-1024)

Recording Frame Rates

ARRIRAW 4.6K 3:2 Open Gate: 35 / 80 fps
ARRIRAW 4.6K 16:9: 45 / 95 fps
ARRIRAW 4K 16:9: 55 / 125 fps
ARRIRAW 3.8K 16:9: 65 / 140 fps
ARRIRAW 3.8K 2.39:1: 85 / 190 fps
ARRIRAW 3.3K 6:5 - 3.3K: 55 / 120 fps
ARRIRAW 2K 16:9 S16: 230 / 330 fps
ARRIRAW HD 16:9 S16: 260 / 330 fps

ARRICORE 4.6K 3:2 Open Gate: 80 / 120 / 165* fps
ARRICORE 4.6K 16:9: 100 / 150 / 200* fps
ARRICORE 4K 16:9: 125 / 150 / 210* fps
ARRICORE 3.8K 16:9: 145 / 150 / 240* fps
ARRICORE 3.8K 2.39:1: 195 / 240 fps
ARRICORE 3.3K 6:5 - 3.3K: 120 / 120 / 210* fps
ARRICORE 2K 16:9 S16: 330 / 330 / 660* fps
ARRICORE HD 16:9 S16: 330 / 330 / 660* fps

Apple ProRes 4444 4.6K 3:2 Open Gate: 90 / 120 fps
Apple ProRes 4444 4.6K 16:9: 110 / 150 fps
Apple ProRes 4444 4K 16:9: 135 / 150 fps
Apple ProRes 4444 3.8K 16:9: 150 / 150 fps
Apple ProRes 4444 3.8K 2.39:1: 210 / 240 fps
Apple ProRes 4444W 3.3K 6:5 - 3.3K: 120 / 120 fps
Apple ProRes 4444 2K 16:9 S16: 330 / 330 fps
Apple ProRes 4444 HD 16:9 S16: 330 / 330 fps

Compact Drive 1TB / 2TB, *with Sensor Overdrive

Recording Modes

Standard real-time recording
Pre-recording*

Viewfinder Type

Multi Viewfinder MVF-2 with 4" flip-out touchscreen monitor

Viewfinder Technology

OLED viewfinder display
LCD flip-out monitor

Viewfinder Resolution (pixel)

OLED: 1920 x 1080

Viewfinder Diopter

Adjustable from -5 to +5 diopters

Color Output

1. ARRI Color Management Display Render Transforms:
- Rec 709
- Rec 2020
- Rec 2100 PQ
- Rec 2100 HLG
2. LogC4
3. Custom Color Management*

Look Control

ARRI Look File ALF-4:
- 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)
With LPS-1 Fiber Camera Adapter FCA-1: additional 2x 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 Control Monitor CCM-1
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
Skaarhoj Remote Control Panel

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

Wireless Interfaces

Built-in WiFi module (IEEE 802.11a/ac/b/g/n/k/r/v)
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

~ 81 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
With LPS-1 Fiber Camera Adapter: additionally 1x 24 V and 3x 12 V

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

General:
'-20° C to +45° C / -4° F to +113° F
When using more than 120 fps or more than 90 fps in 4.6K and 3.3K Sensor Modes:
'-20° C to +40° C / -4° F to +113° F

both @ 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, Apple ProRes 4444 XQ, ≤ +30° ambient temperature

Software Licenses

ALEXA 35 Xtreme Premium License
ALEXA 35 Xtreme Look License
ALEXA 35 Xtreme ARRIRAW License
ALEXA 35 Xtreme Open Gate/Anamorphic License
ALEXA 35 Xtreme Highspeed License
ALEXA 35 Xtreme Pre-record License
ALEXA 35 Xtreme Multicam License (optional)

*Feature requires licensing and is not initially activated in the ALEXA 35 with Base License