Six new lenses added to the Prime DNA series.
Find out more about our latest lens options for the ALEXA 65.
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. The ALEXA 65 camera is a scaled-up version of an ALEXA SXT, able to capture an uncompressed ARRIRAW 65 mm image of stunning intensity and definition.
With a sensor larger 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. 65 mm grew into an inspirational format, providing an epic frame within which the biggest and most visually impactful stories could be told.
In many ways ALEXA 65 represents the evolution of ARRI’s 765 65 mm film camera, first introduced in 1989 and used over the last quarter-century by major cinematographers on feature films including Far and Away, Little Buddha, Hamlet, Sunshine, The International, Shutter Island and Gravity. Whether for an entire movie or selected sequences, filmmakers have long valued the opportunity to capture images in the 65 mm format, with its immersive levels of detail and rich cinematic heritage.
|Title||Start||Cinematographer||ARRI Rental Lenses|
|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|
|Marwencol||Aug 2017||C Kim Miles CSC||PRIME 65, VINTAGE 765|
|Die Geschichte eines Parfüms||Aug 2017||Jakob Bejnarowicz||PRIME DNA|
|Ant Man and The Wasp||July 2017||Dante Spinotti ASC, AIC||PRIME DNA|
|Fantastic Beasts and Where to find them 2||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||Larry 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|
|Han 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 Magalene||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|
|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||Julyo Macat ASC||PRIME 65|
|Mission: Impossible - Rogue Nation||Jan 2015||Robert Elswit ASC||PRIME 65|
|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||Jeff Jur ASC||PRIME 65, PRIME 65 S|
|Dark||Oct 2016||Nikolaus Summerer||35mm ANA / SPHERICAL|
The ALEXA 65 sensor itself has exactly the same photosite design as that found in ARRI's successful 35 mm format ALEXA digital cameras, aside from being much larger. The individual photosites on the ALEXA sensor 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 photosites, 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.
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.
Used on: Solo: A Star Wars Story, Dumbo, Ant Man and The Wasp, Die Geschichte eines Parfüms, Chaos Walking, Bohemian Rhapsody, If Beale Street Could Talk, Dogs of Berlin, Breathe, Mary Magdalene
Used on: The Hurricane Heist, Marvel’s Inhumans, Dumbo, Fantastic Beasts and Where to Find Them 2, Bohemian Rhapsody, 800 Warriors, Dreamland, The Haunting of Hill House
Used on: Alpha, Marshall, Gerald’s Game, A Worthy Companion, Roma, Marvel’s Inhumans, The 15:17 to Paris, Marwencol, 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
Used on:Gerald’s Game, Earthy Encounters, Sea Oak, Marwencol, Thor: Ragnarok, The Great Wall, War for the Planet of the Apes, The Dark Tower, Breathe, Marshall, Snowden, Gravity*, The International*, Little Buddha*
The Prime 65, Zoom 65 and new Prime 65 S lenses utilize high-performance optics, housed in classically robust and uniform lens barrels 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.
In common with ALEXA SXT, 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 new 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 new high performance ARRI Rental Vault XL65.
Just as they did with 65 mm celluloid, filmmakers utilize the experiential feel of ALEXA 65 images according to the creative requirements of each individual production. In many cases the 65 mm format has been used for sweeping vistas and wide landscape shots, but other cinematographers, including Mihai Malaimare Jr. on The Master and Frank Griebe on The International, have used the format for extreme close-ups, exploring the human face as a landscape and crafting intensely intimate dialogue scenes.
The overall performance, cost-efficiency and flexibility of the ALEXA 65 allows many high-profile productions the choice to shoot with 65 mm digital in their entirety, or alternatively, utilise the scale and fidelity of the large capture format for selected establishing shots or high-impact VFX sequences.
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
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
DP: Jeff Jur ASC
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 nearly a century.
ALEXA 65 is not an unwieldy, delicate tool that can only be used in a studio. It is a compact, ergonomically designed 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. This system is solid, versatile and ready to write a new chapter in 65 mm filmmaking.
The ALEXA 65 system has been exclusively commissioned by ARRI Rental, a strong 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. These include the ALEXA XT B+W, a black-and-white digital camera of unparalleled sensitivity, dynamic range and resolution, and now the ALEXA 65.
|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 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
|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
|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||3 independent color outputs, all with optional overlays:
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 is a turnkey capture and workflow solution. More than just a 65 mm digital cinema camera that delivers exceptionally high quality images, ALEXA 65 is a complete large-format system, offering custom-designed prime lens, zoom lens and workflow solutions for high-end theatrical motion pictures.
The camera is about the same size and weight as an ALEXA XT Studio.
At the heart of the ALEXA 65 is the A3X sensor; the largest high-performance motion picture sensor available on the market today. The sensor has a 54.12 mm x 25.58 mm active imaging area, which is even larger than the film gate of ARRI’s 765 65 mm film camera.
The maximum recordable resolution from the A3X sensor is 6560 x 3100 photosites, with a dynamic range of more than 14 stops. The sensor design is based on the same photosite technology as the ALEXA XT, therefore image attributes such as colorimetry and dynamic range will match well with any member of the ALEXA family. This allows productions the freedom to mix the use of 35 mm format ALEXA XT cameras with the larger 65 mm format ALEXA 65, without having to worry about adopting different workflows or any additional color correction of images in postproduction.
The ALEXA 65 is only available for rent through the ARRI Rental organization.
Not at all. While the ALEXA 65 offers the incredible image of the 65 mm format, for most feature films, TV series or commercials, the Super 35 format of the ALEXA XT remains a great solution.
The ALEXA 65 is yet another tool in the filmmakers arsenal of ALEXA cameras, a tool for high-end application. One also needs to consider the need for special 65 mm lenses, faster recording media and adequate workflow tools.
Since it was launched the ALEXA 65’s capabilities have been extended through pioneering technology advances. The system now supports 2TB SXR capture drives as a recording medium, offering 43 minutes of recording time at the full 6560 x 3100 sensor resolution. The SXR technology also permits groundbreaking read and write speeds, enabling 60 fps full resolution ARRIRAW recording, plus faster offload rates, delivering a quick, cost-effective and streamlined workflow solution via the Vault S65 and the Vault XL65 systems.
No. The ALEXA 65 only records ARRIRAW.
Yes. ALEXA 65 can be configured in exactly the same way as an ALEXA XT. On-set ARRI Look File support and CDL works the same as ALEXA XT too.
The ALEXA 65 is a standard 24 V camera system, and as such, uses the same block battery solutions as the ALEXA XT.
The higher performance A3X sensor and higher bandwidth signal processing of the ALEXA 65 requires a little more cooling at the front end, compared to a regular ALEXA XT. These additional fans run very quietly and are modeled on the standard ALEXA fan system; therefore they have no contact with any of the cameras internal electronics.
In addition, the same sensor temperature control method is used on ALEXA 65 as with any member of the ALEXA family. The sensor is actively maintained at a constant temperature to ensure accurate and trusted image performance under all environmental conditions.
It is HD, 1920 x 1080, to be compatible with the currently used on-board and on-set monitors.
ARRI Rental have exclusively commissioned a brand new range of 65 mm prime and zoom optics, which utilize Hasselblad lens elements from the world-renowned HC series of large-format lenses.
To create a truly class-leading 65 mm cinema lens look and feel, these lens elements have been re-housed in robust and uniform lens barrels, co-developed with IB/E Optics to our own design specifications – including a new iris system for the prime lenses, and a new focus/iris/zoom control mechanism for the zoom lens. These lenses use a new proprietary XPL mount system with LDS functionality. However, the ALEXA 65 XPL lens mount is modular in design and will allow for adaptation to other medium-format lenses in the future.
This new Prime 65 lens series delivers unparalleled MTF, excellent contrast and geometry, and no chromatic aberrations or focus breathing. Usability and environmental ruggedness is comparable to that of the ARRI/Zeiss Master Prime lenses.
Additionally, a Vintage 765 lens range, originally developed to partner the ARRIFLEX 765, has been adapted for use with the ALEXA 65. These lenses provide a classic filmic look with a gradual, soft roll-off across the image – perfect for creating a softer look that is complimentary to the new Prime 65 and Zoom 65 lenses.
The ALEXA 65 is fitted with a brand new proprietary XPL lens mount, supporting the Prime 65 and Zoom 65 lenses, as well as the Vintage 765 range. ARRI Rental is currently looking at other lens and lens mount options and will make further announcements in due course.
At present, there are eight lenses within the Prime 65 range and one Zoom 65. The Prime 65 series offers focal lengths from 24 mm to 300 mm, with apertures from T2.2 to T4.8, while the Vintage 765 lens range offers 11 focal lengths from 30 mm to 350 mm.
Prime 65 & Zoom 65 Lens Range
Vintage 765 Lens Range
Additional prime and zoom lenses, as well as other optical accessories are planned for 2015.
As a scaled up version of the ALEXA XT, the ALEXA 65 employs the same on-set support with regards to color management and display technology. The ALEXA 65 has two separate HD monitoring outputs and also uses the same Look and CDL functionality as the ALEXA XT.
ARRI Rental have partnered with Codex to deliver a rapid, cost-effective ARRIRAW workflow for the ALEXA 65. Initially, the camera can use the same 512GB XR capture drives as the ALEXA XT but a new, pioneering recording technology co-developed with Codex now means that the ALEXA 65 supports 2 TB SXR capture drives, offering 43 minutes of recording time at the full 6560 x 3100 sensor resolution.
The new SXR capture drive technology, which will also feature in ARRI’s new-generation ALEXA SXT cameras, offers very high recording data rates and facilitates a faster offload time, delivering a quicker, cost-effective and more streamlined workflow solution with the Vault S65 and the Vault XL65 systems. Both can transfer, store and review ALEXA 65 material on-set, near-set or in a post facility based on production needs.
The Vault S65 is designed for use on, or near set as the hub of a file-based workflow. The Vault S65 platform integrates world-class image science and high quality processing into a modular design that means it can be customized for any project. It is rugged in design and can be DC powered, running off standard 24 V camera batteries, which makes the Vault S ideal for location-based productions.
As with traditional Vault systems, the Vault S65 comprises of a series of configurable modules.
Based on a Codex Vault XL platform, the new ARRI Rental Vault XL65 is the workflow workhorse behind the ALEXA 65 and can render out full ALEXA 65 Open Gate 6.5K ARRIRAW in near real time, as well as simultaneously produce dailies for offline use. The Vault XL65 can also downscale to 4K or 2K depending on the workflow pipeline required.
The system is a rack-mounted, network attached device that is ideal for a near-set or postproduction configuration. It contains multiple CPU and GPU cores for parallel processing of data and network storage. This provides fast access to files and allows for easy administration and integration into an existing facility infrastructure. Along with near real-time processing of ALEXA 65 Open Gate material, the Vault XL65 can also play back original camera material to a calibrated display at the highest resolution, with the correct look and at the right frame rate.
With a sophisticated timeline and user friendly interface the QC of original camera material can be carried out efficiently, while also generating detailed QC reports for production use. The system also includes a full color pipeline, including support for ACES, and uses non-destructive, primary grading tools to create new color decisions or simply apply pre-made LUTs.
Most importantly a powerful GPU processing engine can transcode to all the formats required for dailies at speeds far greater than real time.
The Vault XL65 also has the ability to archive to dual LTO tapes with full verification, using the industry-standard LTFS format.
Referring to the tables below, when recording full resolution Open Gate 6560 x 3100 ARRIRAW at 24 fps, the ALEXA 65 generates around 2.6 terabytes of data per hour. This is almost three times more than an ALEXA XT in Open Gate mode.
Alternatively, the ALEXA 65 will support two cropped recording modes; 1.78:1 (5120 x 2880) and 1.50:1 (4320 x 2880). In these lower resolution modes the camera generates less data. The ALEXA 65 therefore has the flexibility to support a variety of production requirements and workflow needs.
This device has not yet been authorized by the rules of the FCC. This device will comply with FCC rules before coming to market.