ARRI ALEXA 35 Xtreme is a high-end digital cinema camera built for productions that need ARRI image quality, faster frame rates and more efficient recording workflows.
Unveiled in July 2025, the camera builds on the original ALEXA 35 platform but adds major internal upgrades aimed at high-speed cinematography. It is designed for feature films, commercials, premium documentaries, sports cinematography, music videos, tabletop work and any production where slow motion must match the look of the main camera.
The camera keeps the familiar Super 35 format while introducing faster processing, improved recording options and the new ARRICORE codec. That makes it especially important for crews that already trust the ALEXA 35 image but need more flexibility for demanding motion work.
At around $54,590 for entry-level configurations, the ALEXA 35 Xtreme is firmly positioned as a professional cinema camera for rental houses, studios, production companies and high-end cinematographers.
Key Camera Specifications
The ALEXA 35 Xtreme uses a Super 35mm sensor with a 27.99 x 19.22 mm active area. Its 4.6K Open Gate recording gives cinematographers flexibility for reframing, anamorphic work, visual effects, vertical deliverables and multiple aspect ratios.
| Feature | ARRI ALEXA 35 Xtreme |
|---|---|
| Camera type | Digital cinema camera |
| Release period | July 2025 |
| Sensor format | Super 35mm |
| Sensor size | 27.99 x 19.22 mm |
| Maximum resolution | 4.6K Open Gate, 4608 x 3164 |
| Base sensitivity | ISO 800 |
| Main codecs | ARRIRAW, ARRICORE, Apple ProRes |
| Bit depth | Up to 13-bit in ARRIRAW and ARRICORE, 12-bit in ProRes modes |
| Lens mount support | LPL and PL options, with adapter-based workflows depending on setup |
| Weight | About 2,900 g body class |
| Dimensions | About 203 mm x 147 mm x 153 mm |
| Estimated starting price | Around $54,590 before taxes, depending on set |
The most important upgrade is speed. The ALEXA 35 Xtreme can reach much higher frame rates than the standard ALEXA 35, making it a more complete choice for productions that previously needed a separate high-speed camera.
High-Speed Recording and Sensor Overdrive
The headline feature of the ARRI ALEXA 35 Xtreme is high-speed recording.
ARRI says the camera can record up to 330fps while maintaining full dynamic range. With Sensor Overdrive, it can reach up to 660fps in supported modes.
This matters because slow-motion work often creates compromises. Some cameras lose image quality, dynamic range, colour consistency or workflow simplicity at very high frame rates. ARRI’s goal with the Xtreme model is to make high-speed capture feel more integrated into the ALEXA ecosystem.
Why 660fps Matters
A 660fps recording option is useful for shots where time needs to feel stretched.
This can include sports action, liquid splashes, explosions in controlled production environments, fabric movement, product photography, dance, wildlife behaviour and dramatic close-up details.
For commercial cinematography, the camera gives crews more control over motion and texture. For narrative work, it allows directors to use extreme slow motion without leaving the ARRI colour pipeline.
ARRICORE Codec Explained
ARRICORE is one of the biggest workflow additions to the ALEXA 35 Xtreme.
The codec is designed to provide strong image quality and post-production flexibility while reducing data rates compared with heavier recording formats. For productions dealing with high frame rates, this is important because slow-motion footage can quickly create large amounts of data.
ARRIRAW remains the premium option for maximum image control, while ProRes continues to support established editorial workflows. ARRICORE sits in the middle as a modern ARRI codec built for efficiency and quality.
Why ARRICORE Is Important for Productions
High-end productions do not only think about image quality. They also think about storage, backup, transfer time, editing speed and post-production costs.
A codec that reduces data load while preserving flexibility can save time on set and in post. For rental houses and production managers, this can make the camera easier to justify on jobs where data management is a major concern.
Recording Modes and Formats
The ALEXA 35 Xtreme supports a wide range of recording modes, including 4.6K Open Gate, 4.6K 16:9, 4K 16:9, 3.8K 16:9, 3.8K 2.39:1, 3.3K 6:5, 2K Super 16 and HD Super 16.
That range gives cinematographers flexibility for spherical, anamorphic, high-speed, broadcast, VFX and cropped workflows.
| Sensor Mode | Resolution | Aspect Ratio | Codec Options |
| 4.6K Open Gate | 4608 x 3164 | 3:2 | ARRIRAW, ARRICORE, ProRes |
| 4.6K 16:9 | 4608 x 2592 | 16:9 | ARRIRAW, ARRICORE, ProRes |
| 4K 16:9 | 4096 x 2304 | 16:9 | ARRIRAW, ARRICORE, ProRes |
| 4K UHD | 3840 x 2160 | 16:9 | ProRes and selected modes |
| 3.8K 2.39:1 | 3840 x 1608 | 2.39:1 | ARRIRAW, ARRICORE, ProRes |
| 3.3K 6:5 | 3328 x 2790 | 6:5 | ARRIRAW, ARRICORE, ProRes |
| 2K S16 | 2048 x 1152 | 16:9 | ARRIRAW, ARRICORE, ProRes |
| HD S16 | 1920 x 1080 | 16:9 | ARRIRAW, ARRICORE, ProRes |
The 4.6K 3:2 Open Gate mode is especially useful because it captures the full sensor area. That gives productions more room for cropping, stabilization, visual effects, multiple delivery formats and anamorphic extraction.
4.6K Open Gate Performance
The 4.6K 3:2 Open Gate mode is one of the most important recording formats on the ARRI ALEXA 35 Xtreme.
It captures 4608 x 3164 pixels using the full Super 35 sensor area. This mode gives cinematographers maximum flexibility when they want the largest image area available from the camera.
Open Gate is useful for cinema release, streaming platforms, premium commercials and productions that need multiple versions from one master frame. A single Open Gate capture can support widescreen, 16:9 and vertical crops if the framing is planned carefully.
Open Gate Codec Options
The camera supports 4.6K Open Gate recording in ARRIRAW, ARRICORE and ProRes.
ARRIRAW offers the highest level of image control. ARRICORE provides a newer balance between image quality and lower data rates. ProRes remains useful for productions that want simpler post-production and fast turnaround.
Image Quality and Dynamic Range
ARRI cameras are known for highlight handling, natural colour, pleasing skin tones and cinematic texture.
The ALEXA 35 Xtreme continues that reputation while adding more speed. In standard high-speed operation, ARRI says the camera maintains full dynamic range up to 330fps.
That is important because slow-motion shots often need to match normal-speed footage. If a high-speed shot looks different from the rest of the project, it can break visual continuity.
The ALEXA 35 Xtreme is designed to help cinematographers maintain a consistent image pipeline across normal-speed and high-speed scenes.
Lens Mount and Lens Coverage
The camera is built around the Super 35 format, so lens coverage is easier than with full-frame cinema cameras.
The ALEXA 35 Xtreme supports professional cinema lens workflows through LPL and PL mount configurations. Depending on the production setup, adapter-based workflows can also expand compatibility.
Because the active Open Gate sensor area is 27.99 x 19.22 mm, cinematographers should still check lens coverage, especially when using vintage lenses, Super 35 zooms, anamorphic lenses or special-format optics.
Why Lens Coverage Matters
A lens may cover 16:9 but show vignetting in Open Gate.
That is why productions should test lenses before shooting, especially when using the full 4.6K 3:2 sensor mode. Open Gate gives more flexibility, but it also asks more from the lens image circle.
Who the ARRI ALEXA 35 Xtreme Is For
The ALEXA 35 Xtreme is not aimed at casual users or basic content creators.
It is built for professional crews that need high-end image quality, strong reliability and flexible production workflows.
It makes sense for:
Film productions that need ARRI colour and high-speed options
Commercial shoots with product, beauty, sports or food slow motion
Rental houses serving premium productions
Music videos with stylised motion work
Documentaries needing strong image quality and pre-recording flexibility
Cinematographers who want one camera system for normal and high-speed work
The biggest advantage is that productions can stay within the ALEXA 35 family while gaining higher-speed performance.
ARRI ALEXA 35 Xtreme Price
The ARRI ALEXA 35 Xtreme starts at about $54,590 before sales tax or VAT, depending on the specific camera set and market.
Higher-end packages cost more because they may include different licenses, mounts, monitors, media, battery plates, cages, viewfinders and production accessories.
The price places the camera in the premium professional market. Most independent creators will rent it rather than buy it. For rental houses and established production companies, however, the upgrade may be attractive because it expands what the ALEXA 35 platform can do.
Should You Buy or Rent It?
Most productions will rent the ARRI ALEXA 35 Xtreme.
Buying makes sense for rental companies, busy cinematographers, studios and production houses that can keep the camera working regularly. For occasional shoots, renting is usually more practical.
The camera is expensive, and a complete working package requires lenses, media, batteries, monitoring, support equipment, storage and post-production planning.
For productions that need the ARRI look and high-speed capture, the rental cost may be easier to justify than buying a full system.
Key Takeaways
- ARRI ALEXA 35 Xtreme was unveiled in July 2025.
- It uses a Super 35mm sensor measuring 27.99 x 19.22 mm.
- The maximum Open Gate resolution is 4.6K at 4608 x 3164.
- The camera supports ARRIRAW, ARRICORE and ProRes recording.
- ARRICORE is designed to reduce data rates while keeping strong image quality.
- ARRI says the camera can reach up to 330fps with full dynamic range.
- Sensor Overdrive allows supported frame rates up to 660fps.
- The camera supports multiple formats, including 4.6K, 4K, 3.8K, 3.3K, 2K and HD modes.
- It is aimed at professional film, commercial, documentary and high-speed production.
- The estimated starting price is about $54,590 before taxes, depending on the set.
Frequently Asked Questions
What is the ARRI ALEXA 35 Xtreme?
The ARRI ALEXA 35 Xtreme is a professional Super 35 digital cinema camera built for high-end production, high-speed recording and efficient ARRICORE workflows.
When was the ARRI ALEXA 35 Xtreme released?
ARRI unveiled the ALEXA 35 Xtreme in July 2025.
What sensor does the ARRI ALEXA 35 Xtreme use?
It uses a Super 35mm sensor with an active area of about 27.99 x 19.22 mm.
What is the maximum resolution?
The camera records up to 4.6K Open Gate at 4608 x 3164.
What codecs does the camera support?
The ALEXA 35 Xtreme supports ARRIRAW, ARRICORE and Apple ProRes recording.
What is ARRICORE?
ARRICORE is ARRI’s efficient recording codec designed to deliver strong image quality and post-production flexibility at lower data rates.
How fast can the ARRI ALEXA 35 Xtreme shoot?
ARRI says the camera can shoot up to 330fps with full dynamic range and up to 660fps using Sensor Overdrive in supported modes.
What is the base ISO?
The camera’s base sensitivity is ISO 800.
How much does the ARRI ALEXA 35 Xtreme cost?
Entry configurations are listed at around $54,590 before taxes, while larger production sets cost more.
Who should use the ARRI ALEXA 35 Xtreme?
It is best suited for professional cinematographers, rental houses, studios, commercial productions and film crews that need ARRI image quality with high-speed recording.
Conclusion
The ARRI ALEXA 35 Xtreme is a major high-speed evolution of the ALEXA 35 platform.
It keeps the strengths that made the ALEXA 35 respected, including Super 35 image quality, ARRI colour and professional reliability, while adding faster recording, ARRICORE efficiency and expanded slow-motion possibilities.
For productions that need premium cinematic images and serious high-speed performance, the ALEXA 35 Xtreme is one of ARRI’s most important camera upgrades. It is expensive, specialized and clearly built for professionals, but for the right production, it offers a powerful combination of speed, flexibility and image quality.
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