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 |
| 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 Hurricane Heist | Aug 2016 | Shelly Johnson ASC | PRIME 65 S |
| 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
This device has not yet been authorized by the rules of the FCC. This device will comply with FCC rules before coming to market.
