ALEXA 35 EXTREME

Continuing to innovate cine-style capture, ARRI introduces the ALEXA 35 XTREME. This new camera combines the superior image quality and reliability of the ALEXA 35 with higher frame rates up to 660 fps, the efficient ARRICORE RGB codec, longer pre-record times, and improved Wi-Fi and power usage.

The next-gen, RGB ARRICORE codec offers greater affordability via reduced data rates while maintaining optimal image quality. By not “baking in” sensitivity, white balance, or tint, ARRICORE provides post-production flexibility, and it is consistent with existing ALEXA 35 codecs, ensuring easy on-set and post workflows. ARRICORE offers familiar ARRI textures, metadata, MFX wrappers, and audio behavior, plus support for most third-party tools. This ARRICORE beta version will be finessed, incorporating user feedback.

The ALEXA 35 XTREME’s improved wireless connectivity includes Wi-Fi 5GHz compatibility, Wi-Fi roaming in a mesh network, and auto-reconnecting to previously known networks.

Key to the ALEXA 35 XTREME’s amazing image quality is a 4.6K Super 35 CMOS sensor offering 17 stops of dynamic range, which is a robust 2.5 stops greater than prior ARRI cameras. Those 2.5 stops are split between 1.5 stops at the top end, resulting in filmlike highlight roll-off, and one stop at the lower end to see even deeper into shadows without overexposing other areas. Ideal for HDR projects and any backlit setups, the ALEXA 35 XTREME’s wide dynamic range can also be a boon when tweaking your images in post.

In-camera down-sampling and anamorphic de-squeezing enable the ALEXA 35 XTREME to offer a robust array of 19 ARRIRAW and Apple ProRes recording formats with different resolutions, data rates, aspect ratios, and other factors, suiting the camera to a range of production styles. Recording resolutions include 4.6, 4, 3.3, 3, 2.7, and 2K options.

With an EI of 160 to 6400, the ALEXA 35 XTREME offers higher sensitivity and lower noise than ever before in the ARRI lineup, even in low-light settings. An optional Enhanced Sensitivity Mode (EI 2560-6400) works with the camera’s wide dynamic range to produce nuanced images in darker environments and is ideal for impromptu or available-light capture.

Created with the input of both cinematographers and colorists, ARRI’s REVEAL color science employs six factors to create improved color, contrast, sensitivity, and dynamic range.

• Combined with the ALEXA 35 XTREME’s impressive processing power, the debayering algorithm creates cleaner-edged images that are perfect for compositing work.
• The ACE4 color engine converts RGB image data into the ARRI Wide Gamut color space (AWG4), producing more accurate colors and improving color saturation and tracking, even with subtle tones and lower light levels.
• The AWG4 camera color space is larger than Rec. 2020 but bypasses “virtual” colors that are outside the human visual spectrum, providing faster grading, easier color space conversion, and compatibility with the ACES system.
• A Log-C 4 tonal curve enables the ALEXA 35 XTREME’s larger 17-stop dynamic range; note that the Log-C 4 look appears darker before conversion to Rec. 709 or another color space.
• The LUTs use the improved sensor, color space, and Log-C 4 to produce optimal shadow tonality, color fidelity, and color-grading base. These LUTS must be used with Log-C 4; they do not offer the manual control that some used with Log-C 3.
• The ALEXA 35 XTREME offers backward compatibility for intercutting with ALEXA, ALEXA 35, ALEXA Mini, and AMIRA images, and the ALEXA Mini LF and ALEXA LF images may be processed via REVEAL to match your ALEXA 35 XTREME footage. Processed images will not offer a higher dynamic range or ARRI Textures but will have cleaner edges, better color, easier grading, and compatibility with ACES, Log-C 4, and new LUT.

Akin to digital film stocks, ARRI Textures enable you to alter the amount and character of grain in your images, and the amount of contrast at different levels of detail, which is perceived as sharpness. These textures can be very subtle, so they are best viewed on a large, high-quality HD monitor.

• This set comes with an LBUS PL mount and PL adapter, providing compatibility with a wide array of cine-style lenses.
• Additional lens mount adapters are available separately, offering access to a vast selection of existing modern and vintage lenses in spherical, anamorphic, Super 35, and large format options.
• The ALEXA 35 XTREME is compatible with all common metadata standards and can stream metadata in real time using an optional plug-in.

• The left display is ideal for stabilizer, drone, and crane use, enabling you to view the status and change settings without having an EVF attached. You can even select the ND filter setting to show as the display “screensaver”, creating a quick visual reminder for any stop compensation needed.
• Connectors: The right side of the ALEXA 35 XTREME offers a full interface, including a second EVF port, two 1.5/3/6/12G-SDI outputs with a return option on the second one, timecode in/out, and both 12 and 24V accessory output ports.
• Ethernet: An Ethernet port offers real-time streaming of metadata for use in mixed-reality productions (MRP).
• Audio: The ALEXA 35 XTREME’s audio options include two internal microphones like the ALEXA Mini LF, one 6-pin LEMO input, one 3.5mm headphone jack, embedded SDI audio, and compatibility with the AEM-1 audio module.

The 24V ALEXA 35 XTREME camera provides a 10% power savings over the ALEXA 35 and can be powered using the included ARRI B-Mount battery adapter and separately available batteries. The versatile B-Mount system can also power both 12 and 24V accessories, saving you the weight and space required when using two separate batteries. Third-party adapters from Anton Bauer, Hawk-Woods, and CORE SWX can be used with compatible 26V batteries. The included PDM-1 Power Distribution Module can be used to add seven more accessory power ports.