Alexa Show Serial Number Lookup

[Jesper Sahu]

Forover a decade the ARRI ALEXA camera family has set the gold standard for digital cinematography. Now, ALEXA 35 raises the bar even higher with a new Super 35 format 4.6K sensor and REVEAL Color Science.

Having the ALEXA 35 as our camera package for "More Than You Can See" was a no brainer. The high dynamic range and increased low light performance were invaluable tools that allowed us to capture the visual aesthetics throughout the film. Director of Photography, Nik Pilecki was able to shoot at new angles that he would have previously steered away from (due to distracting highlights) and shoot for longer coverage over blue hour while maintaining exposure with no color shifts. The ALEXA 35 proved to be a workhouse indoors and outdoors, even through the bitter cold Canadian winter day. The camera's form factor made transitioning between small rooms, car shots, and dolly setups, efficient and seamless.

Of all the cameras I have used as a 2nd AC, ALEXA 35 is the one I can work with most efficiently. My transition to stabilization systems is very fast. I can easily disassemble the CCH-5 from the CBP-5 and put it on ARRI and many other gimbals quickly. Likewise, it became very easy to prepare the camera for the shoulder system or tripod. This makes what we do practical. The function keys on the camera are very useful; I assign playback and record functions and use them frequently.

We had a really great setup with ALEXA 35 and anamorphic lenses that worked well both in the arm car and handheld without any major conversions. But the camera itself is really amazing. The colorist was also very excited about the huge dynamic range of the new ALEXA 35 sensor

When I saw how the camera was reacting to low light conditions, I shot only with firelight at 3200 EI. Another setup with UV lights had absolutely no reading on the light meter. In both situations the skin tones and textures came out very well.

The way the new sensor sees color is astonishing to me, even after using ARRI cameras for the last few years...In scorching African sunshine, the highlight roll-off is really nice and you still see detail in the shadows.

We used one of the ARRI Textures that are available in the ALEXA 35. It added some grain, and a lot of us cinematographers do have a love for grain. There was a certain feel to it, a different structure to just pushing the ASA.

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. Find out more >

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.

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.

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.

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.

Full camera control, menu access and high-quality monitoring through the familiar, HDR-capable MVF-2 viewfinder and the new daylight viewable 7" Camera Control Monitor CCM-1. Both can now be operated by touch. Learn more about the CCM-1 here.

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.

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.

ALEXA 35 is the smallest fully featured production camera ever made by ARRI, packing the features and processing power of a larger ALEXA into a Mini-sized body that is fast and easy to use on any type of production.

Senior Product Manager Marc Shipman-Mueller provides an overview of the numerous usability improvements introduced with the ALEXA 35, including sophisticated cooling, flexible...

There are two main ways in which ALEXA 35 expands on-set creative control: the evolving menu of ARRI Textures for different looks, and the wider choice of Super 35 and large-format lenses.

Senior Product Manager Marc Shipman-Mueller talks through the diverse range of spherical and anamorphic lens options available to filmmakers who need to shoot native 4K with ALEXA 35. He also gives an...

A total of 19 different ARRIRAW and Apple ProRes recording formats are available for the ALEXA 35, incorporating efficient in-camera downsampling and anamorphic de-squeezing.

Senior Product Manager Marc Shipman-Mueller goes through the various formats, which allow productions to optimize data rate, resolution, and other parameters based on their individual lens choices, workflows, and...

An overview of the two new electronic accessory modules available for ALEXA 35, as well as the B-Mount 24 V battery system. Both the B-Mount and the electronic accessory modules integrate closely with the rear of the camera body.

Product Marketing Manager Sean Dooley describes how the Power Distribution Module PDM-1 offers seven extra power accessory outputs, while the Audio Extension...

To accompany the ALEXA 35, ARRI has developed a complete new set of mechanical support items that provides flexible options for any shooting situation.

Product Marketing Manager Sean Dooley talks through the various system elements, demonstrating how they allow the ALEXA 35 to scale quickly and easily from a small and lightweight setup to a full-blown production configuration. He also...

The ALEXA 35 Production Set includes a number of new and unique mechanical support parts, designed for traditional camera department rigging workflows. In this video, Product Marketing Manager Sean Dooley will take you through the process of building the Production Set, and give you a little bit of info on each of the components and what you can use them for.

Make sure you take a look at...

The ALEXA 35 Lightweight Set includes a number of new and unique mechanical support parts designed for single operators, small crews and lightweight rigging scenarios. In this video, Product Marketing Manager Sean Dooley will take you through the process of building the Lightweight Set, and give you a little bit of info on each of the components and what you can use them for.

Please note...

Update: ARRIRAW files from the ALEXA 35 can now be processed into HDE files in both the ARRI HDE Transcoder application, as well as traditional workflows utilising third-party data-management software in conjunction with CODEX Device Manager. More information on CODEX Device Manager is available here: -manager

Join Oliver Temmler, Product Manager for...

Christian Grafwallner, ARRI Workflow Tools Product Manager, introduces the ARRI Reference Tool. This program combines the functionality of the ARRIRAW Converter, ARRI Color Tool, and ARRI Meta Extract, supports all ALEXA 35 recording formats, and allows for the creation of ALF4 look files. It supports conversion to SDR and HDR color spaces with looks applied, and is able to export to Apple...

Harald Brendel, Head of Center of Competence Image Science, provides a deep dive into the new LogC4 Tonal Curve in the ALEXA 35, which has the capability to encode the increased dynamic range of the new sensor. He also talks about false color and exposure and compares LogC4 with LogC3.

Learn more about ALEXA 35 workflows on our website: www.arri.com/alexa35-workflows

Find out more about...

In this Tech Talk, ARRI Senior Color Scientist Sean Cooper explains in detail about new image processing steps, like ARRI Color Engine ACE4, ARRI Wide Gamut AWG4, and ARRI Look File ALF4, all used by ALEXA 35 internally and also available through leading third-party postproduction tools for ARRIRAW processing.

Complete information on ALEXA 35 workflows is also available on our website...

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