ALEXA 65 - 65mm Reborn. The new large-format system from ARRI Rental.
Alexa 65
65mm reborn

65 mm Reborn

ARRI Rental's ALEXA 65 system is available exclusively through its global network of rental facilities. Offering a complete large-format solution for high-end motion pictures, television productions and commercials, the system comprises a 65 mm digital cinema camera, custom-designed prime and zoom lenses, and fast, efficient workflow tools. Capturing uncompressed 65 mm ARRIRAW images of unrivalled intensity and definition, ALEXA 65 represents the pinnacle and flagship of the ALEXA camera platform.

Your story, your look, your lens choice

An integral part of the ALEXA 65 system is a range of exclusive 65 mm prime lens series specifically designed to cover the full image area of the sensor and do justice to the exceptional levels of detail it is capable of capturing. Through collaborations with cinematographers, ARRI Rental’s range of full-coverage 65 mm lenses is continually growing.

Custom 65 mm format optics,
tailored to your unique creative vision.

  • An ever-evolving collection, currently comprising 14 lenses
  • Customized by ARRI Rental and guided by cinematographer input
  • Unusual image attributes and full of character
  • Can be mixed and matched to create a bespoke set for specific looks
  • Full ALEXA 65 sensor coverage

Used on: Solo: A Star Wars Story, Dumbo, Ant Man and The Wasp, Parfum, Chaos Walking, Bohemian Rhapsody, If Beale Street Could Talk, Dogs of Berlin, Breathe, Mary Magdalene, The Girl in the Spiders Web.

An extension of the Prime 65 range, but faster and with a smoother personality.

  • Seven higher-speed lenses, all T2.8 or faster
  • Silky image with beautiful bokeh and slightly lower contrast
  • ARRI Lens Data System (LDS) for lens metadata
  • Full ALEXA 65 sensor coverage

Used on: The Hurricane Heist, Bohemian Rhapsody, Marvel’s Inhumans, Dumbo, Fantastic Beasts: The Crimes of Grindelwald, 800 Warriors, Dreamland, The Haunting of Hill House, Always Be My Maybe.

Classic ALEXA 65 lenses, utilizing crisp, contrasty and characterful glass.

  • Eight original Prime 65 lenses, using high-performance optics
  • Housed in robust lens barrels with uniform front diameters and extremely smooth focus and iris operation
  • ARRI Lens Data System (LDS) for lens metadata
  • Full ALEXA 65 sensor coverage

Used on: Alpha, Marshall, Gerald’s Game, A Worthy Companion, Roma, Marvel’s Inhumans, The 15:17 to Paris, Welcome to Marwen, 800 Warriors, The Haunting of Hill House, Thor: Ragnarok, Life, The Solutrean, The Dark Tower, Transformers: The Last Knight, War for the Planet of the Apes, The Great Wall, Sully, Planetarium, Snowden, The Revenant, The Mummy, Justice League, Wonder Woman, Deepwater Horizon, The Boss, How to be Single, The Divergent Series: Allegiant, Captain America: Civil War, The Huntsman: Winter’s War, Mission: Impossible - Rogue Nation

Original ARRIFLEX 765 lenses for a filmic look and gentle focus fall-off.

  • Eleven vintage lenses from the late 1980s
  • Beautiful, classic look with good contrast and a gradual fall-off across the image
  • Full ALEXA 65 sensor coverage

Used on: Gerald’s Game, Earthy Encounters, Sea Oak, Welcome to Marwen, Thor: Ragnarok, The Great Wall, War for the Planet of the Apes, The Dark Tower, Breathe, Marshall, Snowden, Gravity*, The International*, Little Buddha*

The largest, most inspiring format

In the emerging world of large-format cinematography, ALEXA 65 is the largest format of them all. With a sensor slightly bigger than a 5-perf 65 mm film frame, ALEXA 65 harks back to the golden age of 65 mm widescreen filmmaking in the mid-20th century, when this newly introduced format captured the imagination of cinema audiences around the world.

Since its launch, ALEXA 65 has inspired today’s filmmakers and audiences in exactly the same way. Embraced by many leading international cinematographers, the 65 mm format offers a distinct aesthetic and a unique way of telling stories with images. It has been used on some of the most creative, visually compelling movies and TV series of recent years.

Feature Film
Main unit A-Camera
Title Start Cinematographer ARRI Rental Lenses
Godzilla vs. Kong Nov 2018 Ben Seresin ASC, BSC PRIME DNA, PRIME 65 S
I Am Woman Nov 2018 Dion Beebe ACS ASC PRIME 65 S
The Shining 2 Sep 2018 Michael Fimognari PRIME DNA
Joker Sep 2018 Lawrence "Larry" Sher Various ARRI Rental Lenses
Call of the Wild Sep 2018 Janusz Kaminski  
Coast Aug 2018    
Mulan Jul 2018 Mandy Walker ASC ACS  
Men in Black 4 Jul 2018 Stuart Dryburgh PRIME DNA
The King Jun 2018 Adam Arkapaw  
After the Wedding May 2018 Julio Macat PRIME 65 S, PRIME 65,
PRIME DNA
The Earthquake Bird May 2018 Chung Hoon Chung PRIME 65 S, VANTAGE HAWK 65
Parasite May 2018 Kyung-Pyo Hong PRIME DNA
Always Be My Maybe May 2018 Tim Shurstedt PRIME 65 S
The One And Only Ivan Apr 2018 Florian Ballhaus ASC PRIME DNA
Triple Frontier Mar 2018 Roman Vasyanov  
Radioactive Feb 2018 Anthony Dod Mantle  
The Girl in the Spider's Web Jan 2018 Pedro Luque PRIME DNA
Captain Marvel Jan 2018 Ben Davis BSC  
If Beale Street Could Talk Oct 2017 James Laxton PRIME DNA
Dreamland Oct 2017 Lyle Vincent PRIME 65 S
800 Warriors Sep 2017 Yu Cao PRIME 65, PRIME 65 S
Bohemian Rhapsody Sep 2017 Newton Thomas Sigel ASC PRIME DNA, PRIME 65 S
Chaos Walking Aug 2017 Ben Seresin BSC PRIME DNA
Gore Aug 2017 Oliver Stapleton BSC  
Welcome to Marwen Aug 2017 C Kim Miles CSC PRIME 65, VINTAGE 765
Parfum Aug 2017 Jakob Bejnarowicz PRIME DNA
Ant Man and The Wasp July 2017 Dante Spinotti ASC, AIC PRIME DNA
Fantastic Beasts: The Crimes of Grindelwald July 2017 Philippe Rousselot AFC PRIME 65 S, THALIA 65
Dumbo June 2017 Ben Davis BSC PRIME 65, PRIME 65 S
Godzilla : Kind of Monsters June 2017 Lawrence Sher ASC  
Underwater Mar 2017 Bojan Bazelli ASC  
Jurassic World : Fallen Kingdom Feb 2017 Oscar Faura  
The Lion King Feb 2017 Caleb Deschanel ASC / Rob Legato ASC  
Solo: A Star Wars Story Jan 2017 Bradford Young ASC PRIME DNA
Avengers : Infinity War Jan 2017 Trent Opaloch  
Earthy Encounters Dec 2016 Eben Bolter VINTAGE 765
The Mountain Between Us Dec 2016 Mandy Walker ASC, ACS  
The Greatest Showman : Barnum Nov 2016 Seamus McGarvey ASC, BSC  
Roma Nov 2016 Alfonso Cuarón PRIME 65
A Worthy Companion Nov 2016 Sara Mishara PRIME 65
Bright Oct 2016 Roman Vasyanov  
Gerald's Game Oct 2016 Michael Fimognari PRIME 65, VINTAGE 765
Mary Magdalene Sep 2016 Greig Fraser ASC, ACS PRIME DNA
The Hurricane Heist Aug 2016 Shelly Johnson ASC PRIME 65 S
Thor : Ragnarok July 2016 Javier Aguirresarobe ASC, AEC PRIME 65, VINTAGE 765
Life July 2016 Seamus McGarvey ASC, BSC PRIME 65
Breathe July 2016 Robert Richardson ASC PRIME DNA, ANA / SPHERICAL
Asura July 2016 Patrick Murguia AMC  
Transformers 5 June 2016 Jonathan Sela PRIME 65
Marshall May 2016 Newton Thomas Sigel ASC PRIME 65, VINTAGE 765
Okja Apr 2016 Darius Khondji ASC, AFC  
The Dark Tower Apr 2016 Rasmus Videbæk PRIME 65, VINTAGE 765
Alpha Mar 2016 Martin Gschlacht PRIME 65
Ghost in the Shell Jan 2016 Jess Hall BSC  
Sully Nov 2015 Tom Stern ASC, AFC PRIME 65
Doctor Strange Nov 2015 Ben Davis BSC  
Live by Night Nov 2015 Robert Richardson ASC  
Planetarium Oct 2015 Georges Lechaptios PRIME 65
War for the Planet of the Apes Oct 2015 Michael Seresin BSC PRIME 65, VINTAGE 765
Assassin’s Creed Oct 2015 Adam Arkapaw ACS  
Passengers Sep 2015 Rodrigo Prieto ASC, AMC  
Rogue One : A Star Wars Story Aug 2015 Greig Fraser ASC, ACS  
Captain America : Civil War May 2015 Trent Opaloch PRIME 65
The Great Wall May 2015 Stuart Dryburgh ASC, NZCS PRIME 65, VINTAGE 765
Snowden Feb 2015 Anthony Dod Mantle ASC, BSC, DFF PRIME 65, VINTAGE 765
The Revenant Jan 2015 Emmanuel Lubezki ASC, AMC PRIME 65
Selected Sequences
Title Start Cinematographer ARRI Rental Lenses
Skyscraper Aug 2017 Robert Elswit ASC  
Rampage Apr 2017 Jaron Presant  
Murder on the Orient Express Nov 2016 Haris Zambarloukos BSC  
Suburbicon Oct 2016 Robert Elswit ASC  
The Mummy Aug 2016 Ben Seresin BSC PRIME 65
Justice League Apr 2016 Fabian Wagner PRIME 65
Star Wars : Episode VIII Jan 2016 Steve Yedlin ASC  
Wonder Woman Nov 2015 Matthew Jensen ASC PRIME 65
Deepwater Horizon July 2015 Enrique Chediak PRIME 65
The Divergent Series : Allegiant May 2015 Florian Ballhaus ASC PRIME 65
Spectre May 2015 Hoyte van Hoytema ASC, FSF, NSC  
The Huntsman : Winter's War Apr 2015 Phedon Papamichael ASC, GSC PRIME 65
How to be Single Apr 2015 Christian Rein PRIME 65
The Boss Mar 2015 Julio Macat ASC PRIME 65
Mission: Impossible - Rogue Nation Jan 2015 Robert Elswit ASC PRIME 65
TV Shows
Main unit A-Camera
Title Start Cinematographer ARRI Rental Lenses
Dogs of Berlin Oct 2017 Christoph Krauss / Frank Lamm PRIME DNA
The Haunting of Hill House Oct 2017 Michael Fimognari PRIME 65, PRIME 65 S
Sea Oak July 2017 Christian Sprenger VINTAGE 765
Altered Carbon Apr 2017 Martin Ahlgren, Neville Kidd 35mm ANA / SPHERICAL
Marvel's Inhumans Mar 2017 Jeffrey Jur ASC PRIME 65, PRIME 65 S
Dark Oct 2016 Nikolaus Summerer 35mm ANA / SPHERICAL

Unsurpassed image quality

The ALEXA 65 sensor, though much larger overall, has exactly the same photosite design as that found in ARRI's 35 and LF format ALEXA digital cameras. The individual photosites on all ALEXA sensors are of an optimal size, carefully balancing the various different parameters involved in maximizing image quality.

With an open gate resolution of 6560 x 3100, ALEXA 65 offers the same incredible sensitivity, high dynamic range and natural colorimetry as ALEXA, but far greater spatial resolution. This results in images that will look stunningly life-like on the largest cinema screens, with pristine clarity and incredibly fine detail.

LDS XPL mount

The Prime 65, Zoom 65, and Prime 65 S lenses utilize high-performance optics, housed in precision-engineered lens barrels that were co-developed with IB/E Optics. Featuring an XPL mount equipped with the ARRI Lens Data System (LDS), the lenses allow frame-accurate metadata about focus, iris and zoom settings to be recorded with the image stream. This data can be used on set for wireless remote lens control, but it can also be used to help match a virtual lens with the recorded image in postproduction, reducing the time and cost involved in generating complex visual effects shots.

Easy workflows with ARRIRAW

ALEXA 65 captures in the ARRIRAW format, which delivers uncompressed, uncompromised, unencrypted images. ARRI Rental worked closely with Codex during the camera development to create a high-performance workflow unique to the ALEXA 65, which processes full resolution, uncompressed ARRIRAW 65 mm images. Depending on your shooting environment and location, the workflow can run on either a purpose-configured ARRI Rental Vault S65 or the high performance ARRI Rental Vault XL65.

Powering the IMAX Experience®

Since ARRI Rental and IMAX Corporation formed a technology partnership in 2015, a variety of high profile, visually ambitious productions have all utilized the ALEXA IMAX® camera. This camera, a customized version of ARRI Rental’s ALEXA 65 system, is helping to differentiate The IMAX Experience® in today’s digital era.
 
The camera system has featured in several major motion pictures, including:
 

Captain America: Civil War
Dir: Anthony and Joe Russo
DP: Trent Opaloch
 
Sully
Dir: Clint Eastwood
DP: Tom Stern ASC, AFC
 
Transformers: The Last Knight
Dir: Michael Bay
DP: Jonathan Sela
 
Avengers: Infinity War
Dir: Anthony and Joe Russo
DP: Trent Opaloch
 
Marvel’s Inhumans
Dir: Various
DP: Jeff Jur ASC

ARRI heritage and build quality

Manufactured by ARRI in Germany to design specifications provided by ARRI Rental, ALEXA 65 exemplifies the high build quality and precision engineering that has defined ARRI products for more than a century.

ALEXA 65 is not an unwieldy, delicate tool that can only be used in a studio. It is a robust and relatively compact camera that can be operated handheld while running down a busy street. It can be relied upon to withstand hard use in remote locations or under difficult climatic conditions, performing consistently, day after day, on the longest, most challenging shoots.

About ARRI Rental technology

The ALEXA 65 system has been exclusively commissioned by ARRI Rental, a network of all the ARRI equipment rental facilities across the globe. Acting together, these operations give ARRI Rental the scale and reach to service any type of production, in almost any location.

With the combined resources and expertise of so many market-leading facilities, ARRI Rental is able to develop and roll out exclusive, proprietary technologies. As well as the ALEXA 65, these include the ALEXA XT B+W, a black-and-white digital camera of unparalleled sensitivity and dynamic range, and the HEXATRON off-road crane vehicle.

Technical specifications

Overview

Camera type 65 mm format digital cinema camera
Sensor ARRI A3X CMOS sensor
Image aperture 5-perf 65 mm (54.12 mm x 25.58 mm active image area)
Sensor resolution  6560 x 3100 (Open Gate - maximum recordable)
Dimensions Length: 387.8 mm | 15.3 in
Width: 208.3 mm | 8.2 in
Height: 163 mm | 6.4 in
(body only with XPL mount)
Weight 10.5 kg | 23.2 lb
Lens mount  ARRI XPL mount with Lens Data System (LDS) functionality
Shutter Electronic, 5.0º to 358.0º. Adjustable with 1/10º precision.
Frame rates 20 to 60 fps (Open Gate)
Exposure index EI 200 to EI 3200. Base sensitivity EI 800
Dynamic range >14 stops

Recording system

Recording file format Uncompressed ARRIRAW
Sensor crop modes 1.78 Crop Mode (5-perf 65 mm): 5120 x 2880
1.50 Crop Mode (8-perf 35 mm): 4320 x 2880
LF Open Gate: 4448 x 3096
4K UHD: 3840 x 2160*
 
*Available with the release of software update SUP 3.0
Storage Codex SXR Capture Drive
2000 GByte capacity
Max. frame rate capability: 60 fps (Open Gate)
Recording time: 43 minutes @ 24 fps
 
Codex XR Capture Drive
480 GByte capacity / 850 MByte per second data rate
Max. frame rate capability: 27 fps (Open Gate)
Recording time: 11 minutes @ 24 fps

System interfaces

Viewfinder Electronic color viewfinder ARRI EVF-1
BNC connectors 4 x 3G SDI
 - MON (1) OUT: 2 x 3G SDI
 - MON (2) OUT: 2 x 3G SDI 
SD card For software updates and menu settings etc. as with ALEXA
New high speed operating mode for fast ARRIRAW frame grabs (planned feature)
Miscellanous interfaces Focus / iris / zoom motor control with full wireless lens control support
5 x RS 24 V
1 x 12 V
TC I/O (5-pin Lemo)
1 x LDD
2 x LCS
BAT and ACC connection

Monitoring and playback

Monitoring  3 independent color outputs, all with optional overlays:
EVF-1 OUT
MON (1) OUT
MON (1) OUT
MON OUT assistive displays:
Zoom, overscan, overlay info, frame lines, false color exposure check, peaking focus check
CDL CDL server support is provided as ALEXA XT
In-camera playback Playback via EVF-1, HD-SDI MON OUT including audio 

ALEXA 65 Frame Line Composer

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This device has not yet been authorized by the rules of the FCC. This device will comply with FCC rules before coming to market.