Dream Big: ARRI ALEXA Cameras and Future Filmmakers
The ARRI ALEXA line of cinema cameras are the most expensive in the world. And yet, there’s still a chance they might somehow be undervalued. Because, budget and creative constraints aside, if you asked 100 cinematographers which camera they’d like to use on their next project, 99 of them would likely say, “ALEXA.”
In fact, out of the five films nominated for the 2023 Best Cinematography Academy Award, all five were shot on ARRI ALEXA cameras.
Let’s dive into what makes ARRI ALEXA cameras the best of all time. We’ll look at their essential role for all those teaching or studying to be tomorrow’s top filmmakers. We’ll chat with cinematographer Jake Wilganowski who works consistently with ARRI ALEXA cameras for a few insights on the ARRI products. Should the ALEXA be unobtainable, we’ll also discuss a few other cameras that might help on your next project.
Quick Disclaimer: The ALEXA 65 is ARRI’s crown jewel, and it’s how most of today’s big budget movies are shot. We won’t be spending too much time on the 65 because they are not available for purchase. You can only rent one, and, if you do, you better have some serious production insurance. Seriously.
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Overview: The ARRI ALEXA Line
Let’s take a quick look at a few of the ALEXA cameras, as well as their technical specifications.
ALEXA 35
Image via ARRI
The 35, released last year, is the newest ALEXA model to hit sets across the world. It packs the features of a larger ALEXA camera into the size of a MINI body.
Technical Data
| Model | ALEXA 35 |
| 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)) |
ALEXA LF
Image via ARRI
LF stands for “large format.” Its sensor produces an image slightly larger than 4K. This camera was a game changer upon its release, and it still produces some of the most beautiful cinematic images around. Check out Amazon’s gorgeous Rings of Power if you have any doubt.
Technical Data
| Model | ALEXA LF |
| Sensor Type |
Large Format ARRI ALEV III (A2X) CMOS sensor with Bayer pattern color filter array |
| Sensor Maximum Number of Photosites and Size | 4448 x 3096 36.70 x 25.54 mm / 1.444 x 1.005" Ø 44.71 mm / 1.760" |
| Sensor Frame Rates | 0.75 - 150 fps |
| Weight | ∼7.8 kg / ∼17.2 lbs (camera body with LPL lens mount) |
ALEXA Mini LF
Image via ARRI
The Mini LF packs LF functionality into a small body. These work extremely well as a B cam, especially when the regular LF is your A cam. Additionally, the Mini LF is a perfect choice for steadicams.
Technical Data
| Model | ALEXA Mini LF |
| Sensor Type |
Large Format ARRI ALEV III (A2X) CMOS sensor with Bayer pattern color filter array |
| Sensor Maximum Number of Photosites and Size | 4448 x 3096 36.70 x 25.54 mm / 1.444 x 1.005" Ø 44.71 mm / 1.760" |
| Sensor Frame Rates | 0.75 - 90 fps |
| Weight | ∼2.6 kg / ∼5.7 lbs (camera body with LPL lens mount) 800g (MVF-2) |
What makes ARRI ALEXA so special?
Is there a secret sauce? Not really. In fact, when it comes to pleasing cinematographers, they’re all generally looking for the same things. And the ARRI ALEXA line has those things.
Dynamic Range—DPs want the ability to maintain detail and clarity in high contrast situations within the same exposure. You want a shot of a beautiful beam of sunlight piercing through a sea of dark clouds over an ominous ocean? That’s going to require a high dynamic range, which the newest ARRI, the 35, has in spades. In fact, it has the highest dynamic range ever achieved within a cinema camera, digital or film.
Color Accuracy—It’s important to be able to measure the consistency and accuracy of the colors being registered within a video file (across both natural and artificial light sources). ARRI really put in the work when it comes to color. By gathering feedback from cinematographers and conducting their own research, they developed the REVEAL color science system. Go ahead and take a deeper dive here, but trust me when I say that nobody in the market beats ARRI in the color science department.
Sensor—This is the most important part of the camera. It’s responsible for taking in the light that passes through the lens and converting it into an image on your hard drive or memory card. ARRI just released their first new sensor in over twelve years, the Alev 4 CMOS Super 35 sensor. It might not produce the largest image at the highest number of frames per second, but it certainly produces one of the most stunning.
Durability—This camera wasn’t built to weather the bangs, dings, and drops of a normal production day. No, it was built to go a full fifteen rounds against Apollo Creed, and it has the training montage to prove it (watch below). This camera has been beaten, baked, frozen, and battle-tested in just about every way imaginable. Give it your worst.
The Reality of ARRI Cameras
If I was making a narrative film right now, there is no camera I would rather use than an ARRI ALEXA. But, I simply can’t. The costs involved are prohibitive for myself even as a rental. So let’s talk to someone who uses these incredible cameras on a weekly basis.
He’s the most talented cinematographer I know, Jake Wilganowski, the eye behind cine-automatic.com and cinematographer for the film Bomb City.
Jake Wilganowski with the ARRI Mini LF in a Gates Underwater Housing
C2: What sets the ARRI ALEXA apart from its digital peers on the market today?
JW: Simply put,the ALEXA line (especially the new ALEXA 35) has the greatest dynamic range and the best color separation available. The colors do not shift in weird ways due to over or under exposure, and the post-production workflow is very standardized.
ARRI has a long history in cinema and works closely with the industry. They are the gold standard when it comes to reliability, durability, and image quality. I personally love the image and the practical use design of the cameras. The camera and the accessories are smartly designed, which matters a ton when rigging the camera in different ways with different builds. The accessories, such as the Hi-5, are deeply integrated with the camera, and the newer eyepiece is really great.
C2: What would you recommend for beginners when it comes to ARRI cameras?
JW: As far as tips for beginners using the cameras, I’d say just take the time to go through the menu. ARRI crafted a really intuitive and intelligent lay out for users. But really, it’s pretty much a pick up and shoot type of camera. All the main stuff you need is right there on the main screen.
C2: Do you have a recommendation for what other camera you would use if an ARRI ALEXA was not available?
JW: If it’s to save money, a cheaper camera, I’d explore something like a Sony FX6. If I need to go even lower in price, maybe the Panasonic S1H.
Students and the ARRI ALEXA
The main takeaway from this article should be to get your hands on an ALEXA if your film school offers that opportunity. Familiarize yourself with their settings and how they feel. Shoot test footage with your classmates, and garner some experience (while the cost is already rolled into your tuition) on some of the most expensive and advanced tools the film industry has to offer.
Then, as a post grad, you can say that you do indeed have experience with an ARRI ALEXA and you’ll have the footage on your reel to back it up. (This would also give you a chance to work with ARRIRAW footage on your own time, so you can learn how to grade the files and create your own post-production workflow.)
If your school doesn’t have an ARRI ALEXA to work with, then check out the FX6 or the Panasonic S1H like Jake recommended earlier. The Sony Venice would also be a comparable choice (which it better be with its $58K price tag). It’s considered to be on the same tier as the ALEXA line and was used as the main camera on films like Top Gun: Maverick and Avatar: The Way of Water.
We hope you’ve got a good grasp on all things ARRI ALEXA after this article. Remember to check with your university’s equipment service to see if your school happens to have one of the fortunate programs that’s able to offer these amazing tools.