ARRI ALEXA 35 Base Entry Set (LPL, CCM)

Overview
Most affordable way to get a lightweight, ready-to-shoot camera package. Comparable to ALEXA Mini set prices. Includes 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 (CDX). With the 120 fps License installed, users will be able to utilize the maximum frame rates possible for all recording formats that are enabled in the camera, for example up to 120 fps in 4K UHD 16:9. The ARRIRAW License allows uncompressed, unencrypted ARRIRAW recording for all recording formats installed on the camera, providing maximum image flexibility in post. The Open Gate/Anamorphic License enables all the ALEXA 35 Open Gate and anamorphic recording formats, as well as anamorphic de-squeeze for ProRes recording and monitor imaging paths. 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 20 seconds of images 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: 120 fps, ARRIRAW, Open Gate/Anamorphic, Look, and Pre-recording.

Already established as the industry’s camera system of choice, ALEXA 35 is now available to a wider range of users via a new, lower-priced ALEXA 35 Base model. The fully featured existing camera is the Premium model, while the Base model has a core feature set that can be upgraded via temporary or permanent licenses. Costs are further reduced with the new Codex Compact Drive Express for ProRes recording. Designed for flexibility. Five interchangeable lens mounts, two scratch mics, and internal FSND filters make ALEXA 35 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. New side display. Read status, change settings, or play back clips without a viewfinder via the new camera left-side display. Great for TRINITY, Steadicam, Easyrig, drones, and cranes. 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 1TB and 2TB. Use the existing Compact Drives 1TB or the new Compact Drives 2TB for the same maximum frame rates in Apple ProRes. Or use the Compact Drive 2TB for the highest frame rates in ARRIRAW. B-Mount, the new 24 V standard. Improved mechanics, impressive metadata, and enough power for all your accessories. Versatile connectivity. ALEXA 35 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. Built for a long-term investment. Before shipping, every ALEXA 35 undergoes extreme temperature and vibration tests to ensure a lifetime of reliable service on set. 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. Lower cost, same image quality. While the ALEXA 35 Base model offers significant savings, it still shares exactly the same hardware, Super 35 sensor, 17 stops of dynamic range, REVEAL Colour Science, and ARRI image quality as the Premium model. Core features for everyday needs. Identified by a blue jog wheel, the ALEXA 35 Base model has a feature set that meets the regular shooting requirements of many users. It includes ProRes recording up to 60 fps in 4K 16:9 and other formats, ARRI Look File (CDL and 3D LUT) support, Enhanced Sensitivity modes up to EI 6400, and three independent 10-bit monitoring outputs in SDR and HDR colour spaces. Extended features when you need them. ARRI’s new feature licensing concept makes the Base model future-proof because users can unlock specialist features whenever they need them. Each of the licenses can be installed for seven days, 30 days, one year, or permanently, so owner-operators can activate them for a short-form job, a longer-term project, or a new career direction. New entry-level sets. The ALEXA 35 Base model is available

Summary
Dynamic Range: 17 Stops
Lens Mount: LPL Mount
Recording Formats:
ARRIRAW
ProRes
Internal ND: Yes
Audio Inputs: Lemo
Shutter: Rolling (Electronic)
Battery Mount / Type: B-Mount
Media Type: ARRI Codex Compact Drive
Resolution and Frame Rate: 4608×3164 @ 75 fps
Sensor: Super 35
Weight: 2-5kg
Wi-Fi: Yes
Included in box
1x ALEXA 35 with Base Licence Camera Body (KK.0053845)
1x ARRI LPL Lens Mount (LBUS) (K2.0018983)
1x ARRI PL-to-LPL-Adapter (K2.0016936)
1x Balance Utility Dovetail BUD-1 (K2.0034180)
1x B-Mount Battery Adapter (K2.0023751)
1x Camera Control Monitor CCM-1 Set (KK.0048851)
1x Bridge Plate Adapter BPA-6 (K2.0024745)
1x Center Camera Handle CCH-4 (K2.0017270)
1x Universal Adapter Plate UAP-3 (K2.0034179)

About the ARRI ALEXA 35 Base Entry Set (LPL, CCM)
Already established as the industry’s camera system of choice, ALEXA 35 is now available to a wider range of users via a new, lower-priced ALEXA 35 Base model. The fully featured existing camera is the Premium model, while the Base model has a core feature set that can be upgraded via temporary or permanent licenses. Costs are further reduced with the new Codex Compact Drive Express for ProRes recording.

Designed for flexibility
Five interchangeable lens mounts, two scratch mics, and internal FSND filters make ALEXA 35 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.

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

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 1TB and 2TB
Use the existing Compact Drives 1TB or the new Compact Drives 2TB for the same maximum frame rates in Apple ProRes. Or use the Compact Drive 2TB for the highest frame rates in ARRIRAW.

B-Mount, the new 24 V standard
Improved mechanics, impressive metadata, and enough power for all your accessories.

Versatile connectivity
ALEXA 35 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.

Built for a long-term investment
Before shipping, every ALEXA 35 undergoes extreme temperature and vibration tests to ensure a lifetime of reliable service on set. 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.

Lower cost, same image quality
While the ALEXA 35 Base model offers significant savings, it still shares exactly the same hardware, Super 35 sensor, 17 stops of dynamic range, REVEAL Colour Science, and ARRI image quality as the Premium model.

Core features for everyday needs
Identified by a blue jog wheel, the ALEXA 35 Base model has a feature set that meets the regular shooting requirements of many users. It includes ProRes recording up to 60 fps in 4K 16:9 and other formats, ARRI Look File (CDL and 3D LUT) support, Enhanced Sensitivity modes up to EI 6400, and three independent 10-bit monitoring outputs in SDR and HDR colour spaces.

Extended features when you need them
ARRI’s new feature licensing concept makes the Base model future-proof because users can unlock specialist features whenever they need them. Each of the licenses can be installed for seven days, 30 days, one year, or permanently, so owner-operators can activate them for a short-form job, a longer-term project, or a new career direction.

New entry-level sets
The ALEXA 35 Base model is available in a choice of eight sets that all bring accessory savings, grouped within three categories: Base Entry Sets, Base Operator Sets, and Base Production Sets. The Entry Sets offer the most affordable way to acquire a lightweight, ready-to-shoot camera package and put the ALEXA 35 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.

Compact Drive Express
Recording ProRes only, the new Codex Compact Drive Express 1TB has the same fps range as the Compact Drive 1TB, but costs around 40% less. It is a perfect match for the ALEXA 35 Base model, making the camera not only more affordable to buy, but also to use.

More dynamic range
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.

Choose your digital film stock
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. Texture attributes can be very subtle and are best viewed on a large, high-quality HDR monitor. Example images below have been zoomed in around 500% from the original frame size, in order to illustrate the effect of ARRI Textures on fine detail.

Wide lens choice
ALEXA 35 can be used with a vast array of modern or vintage, anamorphic or spherical, and Super 35 or large-format lenses, giving you a broader lens choice if you want to shoot with ARRI cameras while fulfilling 4K mandates. For instance, the exceptionally wide focal length range of the ARRI Signature and Ensō lens series make them just as suitable for Super 35 as for large format, delivering rich and textured images that take full advantage of the ALEXA 35 sensor.

20 recording formats
A total of 20 ARRIRAW and Apple ProRes recording formats, incorporating efficient in-camera down sampling and anamorphic de-squeezing, allow you to optimize data rate, resolution, and other parameters, based on your individual needs. Whatever your aspect ratio choice and whatever your deliverable requirements, there is an ALEXA 35 recording format ideally suited to your production. Learn more >

Fast and easy operation
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. ALEXA 35 is the best A-camera, B-camera, and action camera on the market, all rolled into one.

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 – 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
3.8K 16:9: 3840 x 2160
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″
3.8K 16:9: 23.3 x 13.1 mm / 0,918 x 0.516″
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)
3.8K 16:9: UHD (3840 x 2160)
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 3.8K 16:9 – UHD: 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 3.8K 16:9 – UHD: 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 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 802.11b/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
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 -20° C to +45° C / -4° F to +113° F @ 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 - UHD, Apple ProRes 4444 XQ, ≤ +30° ambient temperature Software Licenses ALEXA 35 Cine License (included) ALEXA 35 Multicam License (optional) Most affordable way to get a lightweight, ready-to-shoot camera package Comparable to ALEXA Mini set prices Includes 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 (CDX) With the 120 fps License installed, users will be able to utilize the maximum frame rates possible for all recording formats that are enabled in the camera, for example up to 120 fps in 4K UHD 16:9. The ARRIRAW License allows uncompressed, unencrypted ARRIRAW recording for all recording formats installed on the camera, providing maximum image flexibility in post. The Open Gate/Anamorphic License enables all the ALEXA 35 Open Gate and anamorphic recording formats, as well as anamorphic de-squeeze for ProRes recording and monitor imaging paths. 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 20 seconds of images 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: 120 fps, ARRIRAW, Open Gate/Anamorphic, Look, and Pre-recording.