ARRI ALEXA 65: Specs, Sensor and Features

ARRI ALEXA 65 is one of the most important large-format digital cinema cameras ever made.

Table of Contents

Released into professional use in 2015 after being announced in late 2014, the camera helped revive 65mm cinematography for the digital era. It gave filmmakers a much larger sensor than Super 35 and full-frame cinema cameras, creating a wider, more immersive image with the trusted ARRI colour response.

The ALEXA 65 was not designed as a normal retail camera. It became available through ARRI Rental as a complete 65mm camera system, including the camera body, lenses, workflow tools and support infrastructure.

Its 5-perf 65mm sensor measures 54.12 x 25.58 mm and records 6.5K Open Gate ARRIRAW at 6560 x 3100. This made it a major choice for high-end feature films, premium commercials, visual effects productions and large-scale cinematic storytelling.

Key Camera Specifications

The ARRI ALEXA 65 uses an A3X CMOS sensor designed for 65mm digital cinematography.

Its sensor area is far larger than traditional Super 35 and also wider than ARRI’s later large-format LF cameras. That extra width gives cinematographers a grand image canvas for epic landscapes, intimate close-ups, visual effects plates and premium cinematic framing.

Feature	ARRI ALEXA 65
Camera type	65mm digital cinema camera
Release period	January 2015
Sensor format	5-perf 65mm
Sensor size	54.12 x 25.58 mm
Maximum recording resolution	6560 x 3100
Aspect ratio	2.11:1 Open Gate
Base sensitivity	ISO 800
Lens mount	XPL and LPL with LDS support
Main recording format	ARRIRAW
Bit depth	12-bit ARRIRAW
Body weight	About 10.5 kg
Dimensions	About 339 mm x 163 mm x 208 mm
Availability	ARRI Rental system

The camera’s defining feature is not only resolution. It is the combination of sensor size, ARRI colour, 65mm lens character and high-end workflow support.

65mm Sensor and Image Character

The ALEXA 65 uses a 5-perf 65mm sensor measuring 54.12 x 25.58 mm.

This is much larger than Super 35 and larger than standard large-format cinema sensors. The result is a wide field of view, strong depth separation and a distinctive sense of scale.

Large 65mm capture can make landscapes feel wider, faces feel more dimensional and interiors feel more immersive. The camera gives cinematographers a visual language that is different from smaller formats.

Why 65mm Matters in Cinema

65mm cinematography is associated with premium image scale.

In film history, 65mm and 70mm formats were often used for epic productions because they delivered detail, depth and visual grandeur. The ALEXA 65 brought that idea into the digital world.

It allowed filmmakers to capture a large-format image while keeping the colour science and highlight behaviour that made ALEXA cameras trusted on major productions.

6.5K Open Gate Recording

The main recording format on the ARRI ALEXA 65 is Open Gate ARRIRAW at 6560 x 3100.

This mode uses the full sensor area and records a 2.11:1 image. It gives filmmakers the largest canvas available from the camera, making it ideal for widescreen cinema, VFX-heavy work and premium theatrical imagery.

Recording Mode	Resolution	Aspect Ratio	Codec
Open Gate	6560 x 3100	2.11:1	ARRIRAW
1.78 Crop Mode	5120 x 2880	1.78:1	ARRIRAW
1.50 Crop Mode	4320 x 2880	1.50:1	ARRIRAW
LF Open Gate	4448 x 3096	3:2 class	ARRIRAW
4K UHD	3840 x 2160	16:9	ARRIRAW workflow

Open Gate is the most important mode because it captures the full 65mm image area.

Why Open Gate Is Valuable

Open Gate gives post-production teams more flexibility.

A production can shoot with the full sensor area and later crop for theatrical widescreen, streaming, trailers, visual effects, stabilisation or alternate aspect ratios. This is especially valuable on large productions where one shot may need to serve several delivery formats.

ARRIRAW Recording Workflow

The ALEXA 65 records ARRIRAW rather than traditional compressed video formats.

ARRIRAW gives productions maximum image flexibility. It preserves more information for colour grading, visual effects and high-end finishing. This is important because ALEXA 65 productions are usually built around premium post-production workflows.

The camera’s Open Gate ARRIRAW mode can generate very large data rates, especially at higher frame rates. This means productions must plan carefully for recording media, data wrangling, backup systems and post-production storage.

Why ARRIRAW Matters

ARRIRAW is designed for productions that need the highest level of image control.

It allows colourists to shape exposure, contrast, highlight roll-off and colour with more flexibility than compressed files. For major films and VFX-heavy work, this can be critical.

The trade-off is file size. ALEXA 65 data management requires professional planning and experienced crew support.

Frame Rates and Data Rates

The ALEXA 65 supports Open Gate ARRIRAW recording at several major production frame rates.

At full 6560 x 3100 resolution, the camera can record up to 60p. Higher frame rates create extremely high data rates, which is why fast media and careful workflow planning are essential.

Resolution	Codec	Frame Rate	Approximate Data Rate
6560 x 3100	ARRIRAW	60p	14.7 Gb/s
6560 x 3100	ARRIRAW	50p	12.3 Gb/s
6560 x 3100	ARRIRAW	30p	7.4 Gb/s
6560 x 3100	ARRIRAW	25p	6.1 Gb/s
6560 x 3100	ARRIRAW	24p	5.8 Gb/s

These numbers show why the ALEXA 65 is a serious production camera. It is built for crews that can handle large amounts of data every shooting day.

Why 60p Matters

Recording 6.5K ARRIRAW at 60p allows filmmakers to capture high-resolution slow motion with the full 65mm look.

This is useful for action scenes, dramatic slow motion, beauty work, large-scale commercials and moments where motion needs to feel more emotional or powerful.

Dynamic Range and Colour Science

The ALEXA 65 is built around ARRI’s classic ALEXA image philosophy.

Although the provided lab database does not list independent dynamic-range testing for this camera, ARRI’s ALEXA family is widely known for strong highlight handling, natural skin tones and cinematic colour response.

The camera was designed to match well with other ALEXA models, which made it useful on productions that combined multiple ARRI cameras. This was important because crews could use the ALEXA 65 for large-format hero shots and smaller ALEXA bodies for tighter setups.

Why ARRI Colour Is Important

ARRI colour science is one of the strongest reasons cinematographers choose ALEXA cameras.

The ALEXA 65 gives filmmakers a large-format image without abandoning the familiar ARRI look. Skin tones remain natural, highlights roll off smoothly and the image gives colourists a strong foundation for grading.

Lens Mount and Lens System

The ARRI ALEXA 65 uses XPL and LPL mount workflows with LDS support.

Because the sensor is extremely large, lens coverage is critical. Not every cinema lens can cover the full 65mm image area. ARRI Rental built the ALEXA 65 as a system, including custom-designed lenses made to cover the sensor properly.

This helped ensure that the camera could deliver the intended 65mm look without heavy vignetting or edge problems.

Why Lens Coverage Matters

A lens that works on Super 35 may not cover the ALEXA 65 sensor.

If a lens cannot cover the full image circle, the shot may show dark corners, softness or other optical issues. For ALEXA 65 productions, lens testing is essential.

The camera’s large sensor rewards high-quality lenses with a wide image circle and strong optical performance.

Camera Body and Production Design

The ALEXA 65 is a large and heavy camera.

At around 10.5 kg, it is much heavier than compact ARRI cameras such as the ALEXA Mini, ALEXA Mini LF or ALEXA 265. Its body size makes it best suited for professional film sets with experienced camera teams and strong support equipment.

The camera is not built for lightweight run-and-gun shooting. It is designed for high-end production environments where image quality, lensing and workflow are more important than portability.

Where the ALEXA 65 Works Best

The camera works best on controlled productions such as feature films, premium commercials, visual effects units and large-scale studio shoots.

It can be used on cranes, dollies, stabilized heads and large camera support systems. For smaller or more mobile 65mm work, the newer ALEXA 265 is more practical.

Best Uses for the ARRI ALEXA 65

The ALEXA 65 is best for productions that need the full impact of 65mm digital cinematography.

It is especially strong for:

Feature films
Epic landscapes
Premium commercials
Luxury advertising
Visual effects plates
Large-scale action scenes
Prestige streaming productions
High-end studio work
Cinematic close-ups with strong depth separation
Projects requiring a large-format hero camera

The camera’s size, cost and workflow mean it is not meant for every production. But when a project needs a grand digital image, the ALEXA 65 remains one of the most respected tools available.

ARRI ALEXA 65 vs ALEXA 265

The ALEXA 265 is the modern successor to the ALEXA 65.

Both cameras use a 65mm image area, but the ALEXA 265 is smaller, lighter and built for more practical modern production workflows. The ALEXA 65 remains legendary because it helped reintroduce 65mm digital cinematography to major productions.

Feature	ALEXA 65	ALEXA 265
Sensor format	5-perf 65mm	65mm
Sensor size	54.12 x 25.58 mm	54.12 x 25.58 mm
Maximum resolution	6560 x 3100	6560 x 3100
Body weight	About 10.5 kg	About 3.3 kg
Recording	ARRIRAW	ARRIRAW
Best advantage	Legendary 65mm image system	Modern compact 65mm workflow
Best use	Major studio-style productions	More mobile 65mm production

The ALEXA 65 is the original digital 65mm landmark. The ALEXA 265 makes that format easier to use today.

ARRI ALEXA 65 vs ALEXA LF

The ALEXA 65 and ALEXA LF are both large-format ARRI cameras, but they are not the same.

The ALEXA 65 has a much wider 65mm sensor. The ALEXA LF uses a 36.70 x 25.54 mm large-format sensor, which is smaller than the ALEXA 65 but more practical for many productions.

Feature	ALEXA 65	ALEXA LF
Sensor size	54.12 x 25.58 mm	36.70 x 25.54 mm
Maximum Open Gate	6560 x 3100	4448 x 3096
Main format	65mm	Large Format
Body weight	About 10.5 kg	About 7.8 kg
Best for	True 65mm digital cinema	More accessible large-format ARRI capture

The ALEXA LF made large-format ARRI cinematography easier to access, while the ALEXA 65 remained the bigger and more specialized 65mm system.

Key Takeaways

ARRI ALEXA 65 is a 65mm digital cinema camera released for professional use in 2015.
It uses a 5-perf 65mm sensor measuring 54.12 x 25.58 mm.
The maximum Open Gate resolution is 6560 x 3100.
The camera records ARRIRAW in 12-bit.
Open Gate recording supports up to 60p.
Data rates can reach about 14.7 Gb/s at 60p.
The base sensitivity is ISO 800.
The camera uses XPL and LPL mount workflows with LDS support.
The body weighs about 10.5 kg.
It was built as an ARRI Rental camera system rather than a normal retail camera.
The camera is best suited for feature films, premium commercials and high-end VFX work.
The ALEXA 265 is the newer and much lighter successor to the ALEXA 65.

Frequently Asked Questions

What is the ARRI ALEXA 65?

The ARRI ALEXA 65 is a professional 65mm digital cinema camera system designed for high-end film, commercial and visual effects production.

When was the ARRI ALEXA 65 released?

The ALEXA 65 was released for professional production use in 2015 after being announced in late 2014.

What sensor does the ARRI ALEXA 65 use?

It uses a 5-perf 65mm A3X CMOS sensor with an active image area of 54.12 x 25.58 mm.

What is the maximum resolution?

The maximum Open Gate recording resolution is 6560 x 3100.

What codec does the ALEXA 65 record?

The camera records ARRIRAW.

What is the base ISO?

The base sensitivity is ISO 800.

What lens mounts does the camera use?

The ALEXA 65 supports XPL and LPL mount workflows with LDS support.

How heavy is the ARRI ALEXA 65?

The camera body weighs about 10.5 kg.

Is the ARRI ALEXA 65 available to buy?

The ALEXA 65 was designed as an ARRI Rental camera system rather than a standard retail camera.

What frame rates does the ALEXA 65 support?

In Open Gate ARRIRAW, it supports key frame rates including 24p, 25p, 30p, 50p and 60p.

What makes the ALEXA 65 special?

Its huge 65mm sensor, 6.5K ARRIRAW recording and ARRI colour science make it one of the most cinematic digital camera systems ever made.

Who should use the ARRI ALEXA 65?

It is best for major feature films, high-end commercials, visual effects-heavy productions and premium cinematic projects that need a true 65mm digital image.

Conclusion

ARRI ALEXA 65 remains one of the most legendary digital cinema cameras of the modern era.

Its 54.12 x 25.58 mm 65mm sensor, 6.5K Open Gate ARRIRAW recording, huge data pipeline and ARRI image quality helped bring large-format digital cinematography into major professional productions.

The camera is heavy, specialized and built for elite workflows, but that is part of its identity. It was never meant to be a general-purpose camera. It was created to give filmmakers one of the biggest and most cinematic digital canvases available.

Even with the arrival of the newer ALEXA 265, the ALEXA 65 remains a landmark camera that changed how modern filmmakers think about 65mm digital cinema.