ARRI ALEXA 35: Specs, Dynamic Range, Recording Modes and Features

ARRI ALEXA 35 is a professional Super 35 digital cinema camera that reset expectations for image quality, dynamic range and colour science when it arrived in 2022.

Released in June 2022, the camera introduced ARRI’s first new ALEXA sensor in more than a decade. That sensor, known as ALEV 4, brought 4.6K Open Gate capture, improved highlight handling, stronger shadow detail and the LogC4 workflow.

The ALEXA 35 matters because it brought native 4K Super 35 capture to the ALEXA family while keeping the cinematic qualities that made ARRI cameras trusted on feature films, commercials, television drama and high-end streaming productions.

It is not a casual creator camera. It is built for professional crews that need reliable colour, flexible recording, strong dynamic range and a camera body that can work across studio, handheld, drone, gimbal, car-rig and documentary-style environments.

Key Camera Specifications

The ARRI ALEXA 35 uses a Super 35mm sensor measuring 27.99 x 19.22 mm. Its maximum Open Gate resolution is 4608 x 3164, giving cinematographers a flexible 3:2 image area for multiple aspect ratios and lens formats.

The camera sits in a powerful position because it combines Super 35 lens compatibility with modern 4.6K capture and ARRI’s updated colour pipeline.

Super 35 Sensor and 4.6K Open Gate Capture

The ALEXA 35 uses a 4.6K Super 35 sensor designed for high-end cinematography.

Its Open Gate mode records 4608 x 3164 pixels in a 3:2 aspect ratio. This mode captures the full sensor area and gives productions more flexibility in framing, stabilisation, cropping and delivery.

Open Gate is especially useful for productions that need several output versions from one master frame. A cinematographer can protect the main theatrical frame while also giving editors space for 16:9, vertical or social media versions.

Why Super 35 Still Matters

Super 35 remains important because many of the world’s best cinema lenses were designed for that format.

ALEXA 35 allows filmmakers to use classic Super 35 glass, anamorphic lenses and modern PL or LPL lenses without needing a full-frame sensor. This gives cinematographers access to a wide range of lens character, from clean modern optics to vintage looks.

The camera also gives productions a familiar field of view and depth-of-field behaviour that many directors and cinematographers still prefer for narrative work.

Dynamic Range Performance

Dynamic range is one of the strongest reasons cinematographers choose the ARRI ALEXA 35.

ARRI claims 17 stops of dynamic range for the camera. In independent lab testing, CineD measured up to 15.3 stops at SNR=2 in Open Gate ProRes 4444 XQ at ISO 800 and LogC4.

The lab also measured 15.1 stops at SNR=2 in Open Gate ARRIRAW at ISO 800 and 14.9 stops at SNR=2 in Open Gate ARRIRAW at ISO 3200.

These results show why the ALEXA 35 became a reference camera for highlight control, shadow information and difficult lighting situations.

Why Dynamic Range Matters

Dynamic range affects how much detail a camera can hold between the darkest shadows and brightest highlights.

For cinematographers, this matters in real scenes with windows, skies, practical lights, reflections, skin tones and dark interiors. More usable dynamic range gives the image more flexibility in grading and helps protect important detail.

This is one of ARRI’s biggest strengths. The ALEXA 35 does not only capture technical detail; it delivers images that look natural, controlled and cinematic.

Rolling Shutter Performance

The ALEXA 35 also performs well in rolling shutter tests.

CineD measured 7.9ms in Open Gate ARRIRAW, 5.7ms in 4.6K 16:9 ARRIRAW and 7.6ms in 4K 16:9 ARRIRAW.

This is strong performance for a high-dynamic-range cinema camera. Lower rolling shutter helps reduce skew during fast pans, handheld movement, action scenes, vehicle shots and moving subjects.

Why Rolling Shutter Matters

Rolling shutter can make straight lines bend or moving objects look distorted when the camera or subject moves quickly.

For cinema work, good rolling-shutter performance helps maintain a more natural image. This is especially useful for handheld shooting, sports-style movement, action sequences and fast camera moves.

The ALEXA 35’s measured performance makes it a strong option for productions that need both high dynamic range and reliable motion rendering.

ARRIRAW and ProRes Recording

The ALEXA 35 records internally in ARRIRAW and Apple ProRes.

ARRIRAW gives productions the highest level of image control in post-production. It preserves more information for colour grading, exposure adjustment, visual effects and high-end finishing.

ProRes gives crews a more efficient workflow. It is easier to edit, easier to manage and widely supported across post-production systems.

The camera supports ProRes 4444 XQ, ProRes 4444, ProRes 422 HQ and other production-friendly options depending on mode and settings.

Choosing ARRIRAW or ProRes

ARRIRAW is best for premium productions that need maximum flexibility.

ProRes is often better for fast-turnaround projects, commercials, television, documentaries or productions that want strong image quality with lower data pressure.

The strength of the ALEXA 35 is that both options still benefit from ARRI colour science and LogC4.

Recording Modes and Formats

The ALEXA 35 offers a wide range of recording modes for spherical, anamorphic and cropped workflows.

The 3.3K 6:5 and 3K 1:1 modes are especially useful for anamorphic production. The 2K S16 mode allows Super 16-style workflows and compatibility with smaller image-circle lenses.

Frame Rates and Slow Motion

The ALEXA 35 supports high-quality frame rates for professional production.

In Open Gate ARRIRAW, it can record up to 75fps. In other modes, the camera can reach up to 120fps depending on sensor mode, codec and format.

This makes it suitable for dramatic slow motion, commercials, music videos, product shots and action details. It is not as fast as the later ALEXA 35 Xtreme, but it remains highly capable for most cinema workflows.

When 120fps Is Enough

Many productions do not need extreme slow motion.

For narrative film, commercials and streaming drama, 48fps, 60fps, 75fps or 120fps can be enough to create elegant slow-motion shots. The benefit of the ALEXA 35 is that those shots still match the camera’s normal-speed image quality and colour response.

LogC4 and REVEAL Color Science

The ALEXA 35 introduced ARRI’s LogC4 workflow and REVEAL Color Science.

LogC4 is designed for the wider dynamic range of the ALEXA 35 sensor. It gives colourists more room to shape highlights, shadows and midtones in post-production.

REVEAL Color Science improves colour separation, skin tone reproduction and overall image consistency. It helps the camera produce natural images that still offer strong flexibility in grading.

Why Colour Science Matters

Colour science is one of the main reasons ARRI cameras are trusted in high-end cinematography.

Skin tones, highlight roll-off and colour transitions can define the emotional quality of an image. The ALEXA 35 is valued not only because of numbers, but because its files are easy to shape into polished cinematic images.

Lens Mount and Lens Coverage

The ARRI ALEXA 35 supports several lens-mount workflows, including LPL, PL, EF and M depending on setup.

This flexibility is useful because the Super 35 format can work with a huge range of lenses. Cinematographers can use modern large-format lenses, classic PL cinema glass, vintage lenses and specialty optics.

The Open Gate sensor area measures 27.99 x 19.22 mm, so lens coverage should still be checked before shooting, especially in full-height modes.

Best Lens Use Cases

The ALEXA 35 works well with:

Modern Super 35 cinema lenses
Vintage PL lenses
Anamorphic lenses
LPL large-format lenses used with Super 35 framing
Specialty lenses for music videos and commercials
Super 16 lenses in cropped modes

This lens flexibility is one of the camera’s strongest practical advantages.

Built-In ND Filters and Production Tools

The ALEXA 35 includes built-in motorized FSND filters.

These filters help cinematographers control exposure without changing shutter angle, ISO or aperture. Built-in ND filters are especially useful when shooting outdoors, moving quickly between locations or working with small crews.

The camera also supports modern ARRI production tools, wireless control, professional monitoring options and metadata workflows.

Why Built-In ND Filters Help

ND filters allow cinematographers to keep their preferred depth of field in bright conditions.

For example, a director of photography may want to shoot wide open for shallow depth of field on a sunny day. Built-in ND filters make that easier without slowing down the shoot.

Who the ARRI ALEXA 35 Is For

The ARRI ALEXA 35 is built for professional cinematographers, production companies, rental houses and studios.

It is ideal for feature films, streaming dramas, commercials, documentaries, music videos, branded films and premium short-form work.

It is especially useful when a production needs:

High dynamic range
Reliable colour science
Super 35 lens compatibility
ARRIRAW and ProRes workflows
Anamorphic options
Compact professional camera builds
Strong highlight control
Natural skin tones

This camera is expensive and workflow-heavy for beginners, but it is one of the most respected tools in modern cinematography.

ARRI ALEXA 35 vs ALEXA 35 Xtreme

The ALEXA 35 Xtreme is a later, faster version of the same camera platform.

Both cameras share the same Super 35 sensor size and ARRI image philosophy. The main difference is speed and codec expansion. The Xtreme model adds ARRICORE and much higher frame-rate options for productions that need extreme slow motion.

For most productions, the ALEXA 35 remains more than enough. The Xtreme is for productions that need very high frame rates while staying in the ALEXA 35 look.

Key Takeaways

• ARRI ALEXA 35 was released in June 2022.
• It introduced ARRI’s 4.6K ALEV 4 Super 35 sensor.
• The sensor measures 27.99 x 19.22 mm.
• Open Gate resolution is 4608 x 3164.
• ARRI claims 17 stops of dynamic range.
• CineD measured up to 15.3 stops at SNR=2 in Open Gate ProRes 4444 XQ.
• Rolling shutter was measured as low as 5.7ms in 4.6K 16:9 ARRIRAW.
• The camera records ARRIRAW and ProRes internally.
• It introduced LogC4 and REVEAL Color Science.
• It supports LPL, PL, EF and M mount workflows depending on setup.
• The camera weighs about 2.9 kg.
• It remains one of the most important Super 35 cinema cameras in the industry.

Frequently Asked Questions

What is the ARRI ALEXA 35?

The ARRI ALEXA 35 is a professional Super 35 digital cinema camera designed for high-end film, television, commercial and streaming production.

When was the ARRI ALEXA 35 released?

The ARRI ALEXA 35 was released in June 2022 after being announced in 2022.

What sensor does the ARRI ALEXA 35 use?

It uses ARRI’s 4.6K ALEV 4 Super 35 sensor measuring 27.99 x 19.22 mm.

What is the maximum resolution?

The maximum Open Gate resolution is 4608 x 3164.

What is the base ISO?

The camera’s base sensitivity is ISO 800.

What dynamic range does the ARRI ALEXA 35 offer?

ARRI claims 17 stops of dynamic range, while CineD measured up to 15.3 stops at SNR=2 in lab testing.

What is the rolling shutter performance?

CineD measured rolling shutter as low as 5.7ms in 4.6K 16:9 ARRIRAW mode.

Does the ARRI ALEXA 35 record ARRIRAW?

Yes. The camera records ARRIRAW internally, as well as Apple ProRes formats.

What is LogC4?

LogC4 is ARRI’s log encoding designed for the wider dynamic range of the ALEXA 35 sensor.

What lens mounts does the camera support?

The ALEXA 35 supports LPL, PL, EF and M mount workflows depending on the camera setup and adapters.

Is the ARRI ALEXA 35 full frame?

No. The ALEXA 35 is a Super 35 camera, not a full-frame camera.

Who should use the ARRI ALEXA 35?

It is best for professional cinematographers, production companies, rental houses and studios working on high-end film, television, commercial or streaming projects.

Conclusion

ARRI ALEXA 35 remains one of the strongest digital cinema cameras in modern production.

It combines a 4.6K Super 35 sensor, outstanding measured dynamic range, strong rolling-shutter performance, ARRIRAW, ProRes, LogC4 and REVEAL Color Science in a compact professional body.

For filmmakers who want the classic Super 35 look with modern 4K capture and ARRI’s trusted colour pipeline, the ALEXA 35 is a benchmark camera. It is expensive and built for professional workflows, but its image quality, reliability and flexibility make it one of the most important cinema cameras of its generation.

Read Also: ARRI ALEXA 265: Specs, Sensor, Recording Modes and Features