ARRI ALEXA 35 Live - Entry Multicam System
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The entry system contains the basic ingredients of an ALEXA 35 Live - Multicam System. The ALEXA 35 Live camera includes the ALEXA 35 Multicam License (Live Painting, Multicam Looks, Multicam Textures and Remote Tally Control) and Look License (ARRI Textures, Look Library, Custom Colour Management). The ALEXA 35 Live is Xtreme Ready and allows for future upgradability. The ALEXA 35 Live can be upgraded through the ARRI shop (shop.arri.de) via temporary or permanent licenses. The ALEXA 35 Live brings ARRI’s signature cinematic image quality to the dynamic world of multi-camera live production. Designed as part of a complete ecosystem featuring a Fibre Camera Adapter, Fibre Base Station, remote control panel (RCP), and dedicated Multicam accessories, it integrates seamlessly into modern broadcast infrastructures. From sports and concerts to talk shows, premium corporate events, and streaming productions, it delivers exceptional images across a wide range of live applications. Featuring a Super 35-sized 4K sensor, the ALEXA 35 Live delivers outstanding image quality, natural colour reproduction, flattering skin tones, and cinematic shallow depth of field. With 17 stops of dynamic range, it captures challenging lighting conditions with remarkable detail, providing excellent results in both SDR and HDR workflows. The ALEXA 35 Live combines familiar live production shading controls with ARRI’s extensive creative look capabilities. Its built-in ARRI Look Library offers 87 cinematic looks, each available in three intensities and selectable at the touch of a button. Specially developed Multicam looks provide convenient presets for common production environments, including studios, concerts, and ski racing, making it easy to achieve the desired visual style. Operators can independently adjust the knee point and knee slope, alongside continuous fine-tuning of EI/gain, directly from the RCP. These controls simplify exposure matching and highlight roll-off across multiple cameras. Look presets can also be changed instantly and applied automatically across camera groups, enabling consistent visuals and creative adjustments throughout a live broadcast. Designed for professional broadcast environments, the ALEXA 35 Live combines flexible camera control, efficient setup tools, and advanced connectivity to streamline multi-camera operations. Its integrated features support consistent image matching, simplified system configuration, and smooth integration into existing live production infrastructures. Fine-tune individual hues without altering other colours in the image. Multi-matrix colour correction enables precise colour matching between camera channels, helping operators maintain consistent results across different cameras, locations, and production environments. Pre-installed Multicam user settings and extended Scene File support help accelerate setup and simplify camera matching. Ready-to-use profiles and saved configurations can be managed through the RCP, allowing operators to establish a consistent visual style quickly across multiple camera channels. When connected to the Fibre Base Station, the RCP can automatically detect an ALEXA 35 camera head configured for DHCP. This simplifies camera changes and enables Fibre Camera Adapters and camera heads to be transferred between compatible base stations with minimal setup time. With compatible ENG and box zoom lenses, EI/gain is automatically adjusted to compensate for light loss throughout the zoom range. This helps maintain consistent exposure as focal length changes, supporting stable image quality during live camera movements. ALEXA 35 Live models from 2026 onwards, along with ALEXA 35 Live Xtreme, feature an innovative picture-in-picture tracking zoom function. Operators can select a face in the image and have it automatically tracked within a magnified overlay in the corner of the frame. This provides a closer view for monitoring critical focus while preserving visibility of the overall shot. Earlier ALEXA 35 Live cameras can also benefit from this feature through a hardware upgrade. ALEXA 35 Live models from 2026 onwards and ALEXA 35 Live Xtreme feature ARRICORE, ARRI’s next-generation RGB codec. Combining exceptional image quality with reduced data rates, ARRICORE offers an efficient solution for recording live output in-camera. For example, more than three hours of UHD 16:9 footage at 24 fps can be recorded without changing the media card. The ARRI Live Production System LPS-1 comprises the Fibre Camera Adapter and Fibre Base Station, providing flexible connectivity for professional live production. A hybrid fibre cable carries power and uncompressed 4K video over distances of up to 2 km, while tactical fibre cable supports runs of up to 10 km. Additional fibre and Ethernet tunnels provide greater flexibility for transporting video, audio, and control signals. SMPTE ST 2110 support enables independent routing and distribution of uncompressed video, audio, and metadata across IP networks via a 25GbE full-duplex connection. PTP synchronisation ensures accurate timing, while network redundancy and SMPTE ST 2022-7 support seamless failover for reliable live production. The ALEXA 35 Live supports a range of established remote control panels, with the Skaarhoj RCP Pro ARRI V2B recommended as the preferred solution. Combining traditional RCP operation with a powerful, customisable interface, it gives operators extensive control over the camera’s image parameters and creative capabilities. The ALEXA 35 Live Multicam System offers a comprehensive range of purpose-built accessories designed to support different multi-camera production styles. Available in a variety of system configurations, these accessories help tailor the setup to specific operational requirements. Multicam Extension Sets also allow existing ALEXA 35 owners to expand into live production without replacing their entire camera system. The ALEXA 35 Live is available in a range of modular system sets, from compact entry-level configurations to fully equipped broadcast solutions. Multicam System Sets include the ALEXA 35 Live camera, while Extension Sets provide the LPS-1 hardware and accessories needed to expand an existing compatible setup. ARRI ALEXA 35 Live - Entry Multicam System
Included:
Cinematic ARRI Image Quality for Live Production
Exceptional Colour Reproduction and HDR Performance
Flexible Creative Looks
Precise Real-Time Image Control
Seamless Integration into Live Workflows
Advanced Multi-Matrix Colour Correction
Quick and Consistent User Setups
Automatic Camera Detection
Automatic Zoom Exposure Compensation
Picture-in-Picture Subject Tracking
Efficient In-Camera Recording with ARRICORE
Live Production System LPS-1
IP-Based Production with SMPTE ST 2110
Complete Creative Control
Dedicated Multicam Accessories for Live Production
Flexible System Sets for Every Production
Sensor Type
Super 35 format ARRI ALEV 4 CMOS sensor with Bayer pattern colour 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
∼6.3 kg / 13.9 lbs (camera body with PL Mount (Hirose) and Fibre Camera Adapter)
Photosite Pitch
6.075 μm
Sensor Active Image Area (photosites)
4.6K 3:2 Open Gate: 4608 x 3164*
4.6K 16:9: 4608 x 2592*
4K 16:9: 4096 x 2304
4K 2:1: 4096 x 2048
3.8K 16:9: 3840 x 2160
3.3K 6:5: 3328 x 2790*
3K 1:1: 3072 x 3072*
2.7K 8:9: 2743 x 3086
2K 16:9 S16: 2048 x 1152
Sensor Active Image Area (dimensions)
4.6K 3:2 Open Gate: 28.0 x 19.2 mm / 1.102 x 0.756"
4.6K 16:9: 28.0 x 15.7 mm / 1.102 x 0.618"
4K 16:9: 24.9 x 14.0 mm / 0.980 x 0.551"
4K 2:1: 24.9 x 12.4 mm / 0.980 x 0.490"
3.8K 16:9: 23.3 x 13.1 mm / 0,918 x 0.516"
3.3K 6:5: 20.22 x 16.95 mm / 0.796 x 0.693"
3K 1:1: 18.7 x 18.7 mm / 0.737 x 0.737"
2.7K 8:9: 16.7 x 18.7 mm / 0.656 x 0.738"
2K 16:9 S16: 12.4 x 7.0 mm / 0.490 x 0.276"
Recording File Container Size (pixel)
4.6K 3:2 Open Gate: 4.6K (4608 x 3164)
4.6K 16:9: 4.6K (4608 x 2592), 4K (4096 x 2304)
4K 16:9: 4K (4096 x 2304), UHD (3840 x 2160), 2K (2048 x 1152), HD (1920 x 1080)
4K 2:1: 4K (4096 x 2048)
3.8K 16:9: UHD (3840 x 2160)
3.3K 6:5: 3.3K (3328 x 2790), 3.8K (3840 x 1608)
3K 1:1: 3K (3072 x 3072), 3.8K (3840 x 1920)
2.7K 8:9: UHD (3840 x 2160)
2K 16:9 S16: 2K (2048 x 1152)
Recording File Image Content (pixel)
Identical to Recording File Container Size
Dynamic Range
17 stops
Exposure Index
Adjustable from EI 160 - 6400 in 1/3 stops
Shutter
Electronic shutter, 5.0°- 356° or 1s - 1/8000s
Recording Formats
MXF/ARRIRAW*
MXF/Apple ProRes 4444 XQ
MXF/Apple ProRes 4444
MXF/Apple ProRes 422 HQ
Recording Media
Codex Compact Drive 1TB (CA08-1024)
Codex Compact Drive 2TB (CB16-2048)
Codex Compact Drive Express 1TB (CP08-1024)
Recording Frame Rates
ARRIRAW 4.6K 3:2 Open Gate: 35 / 75 fps
ARRIRAW 4.6K 16:9 - 4.6K: 45 / 75 fps
ARRIRAW 4K 16:9 - 4K: 55 / 120 fps
ARRIRAW 4K 2:1 - 4K: 65 / 120 fps
ARRIRAW 3.8K 16:9 - UHD: 65 / 120 fps
ARRIRAW 3.3K 6:5 - 3.3K: 55 / 100 fps
ARRIRAW 3K 1:1 - 3K: 55 / 100 fps
Apple ProRes 4.6K 3:2 Open Gate: 60 / 60 fps
Apple ProRes 4.6K 16:9 - 4K: 75 / 75 fps
Apple ProRes 4K 16:9 - 4K: 100 / 100 fps
Apple ProRes 4K 16:9 - UHD: 120 / 120 fps
Apple ProRes 4K 16:9 - 2K: 120 / 120 fps
Apple ProRes 4K 16:9 - HD: 120 / 120 fps
Apple ProRes 4K 2:1 - 4K: 120 / 120 fps
Apple ProRes 3.8K 16:9 - UHD: 120 / 120 fps
Apple ProRes 3.3K 6:5 - 3.3K: 75 / 75 fps
Apple ProRes 3.3K 6:5 - 3.8K 2.39:1 Ana. 2x: 90 / 90 fps
Apple ProRes 3K 1:1 - 3K: 90 / 90 fps
Apple ProRes 3K 1:1 - 3.8K 2:1 Ana. 2x: 100 / 100 fps
Apple ProRes 2.7K 8:9 - UHD 16:9 Ana. 2x: 100 / 100fps
Apple ProRes 2K 16:9 S16 - 2K: 120 / 120 fps
(Compact Drive 1TB / 2TB)
Recording Modes
Standard real-time recordin
Viewfinder Type
Multi Viewfinder MVF-2 with 4" flip-out touchscreen monitor
Viewfinder Technology
OLED viewfinder display
LCD flip-out monitor
Viewfinder Resolution (pixel)
OLED: 1920 x 1080
Viewfinder Diopter
Adjustable from -5 to +5 diopters
Colour Output
1. ARRI Colour Management Display Render Transforms:
- Rec 709
- Rec 2020
- Rec 2100 PQ
- Rec 2100 HLG
2. LogC4
Look Control
ARRI Look File ALF-4:
- Import of custom 3D LUT
- ASC CDL parameters (slope, offset, power, saturation)
ARRI Look Library*
ARRI Textures*
White Balance
Manual and auto white balance, adjustable from 2000K to 11000K in 10K steps
Colour correction adjustable range from -16 to +16 CC
1 CC corresponds to 035 Kodak CC values or 1/8 Rosco values
Filters
Four position built-in motorized ND filter: Clear, 0.6, 1.2, 1.8
Fixed optical low pass, UV, IR filter
Image Outputs
2x VF custom CoaXPress connectors for MVF-2 viewfinder
2x 12G SDI (BNC): 422 1.5G HD, 422 3G HD, 444 3G HD, 422 6G UHD, 422 12G UHD, 444 12G UHD
Lens Squeeze Factors
1.00, 1.25, 1.30, 1.33, 1.50, 1.65, 1.80, 1.85, 2.00*
Exposure and Focus Tools
False Colour
Zoom
Aperture and Colour Peaking
Audio Input
1x LEMO 6pin balanced stereo line in with 12V power output
(line input max. level +24 dBu correlating to 0 dBFS)
Two built-in microphones for scratch audio
With Audio Extension Module AEM-1: additional 3x TA3 connectors (MIC/Line, +48 V, AES)
With LPS-1 Fiber Camera Adapter: additional 2x TA3 connectors (MIC/Line, +48 V, AES)
Audio Output
SDI (embedded)
3,5mm stereo headphone jack (on MVF-2)
Audio Recording
4 channel linear PCM, 24 bit 48 kHz
Remote Control Options
MVF-2 viewfinder as wired remote control with 10m/33ft cable
Camera Control Monitor CCM-1
Camera Companion App
ARRI Electronic Control System (ECS)
Web-based remote control via Ethernet & WiFi (beta version)
Camera Access Protocol (CAP) via Ethernet & WiFi
GPIO interface for integration with custom control interfaces
Skaarhoj Remote Control Panel
Interfaces
1x LBUS (LEMO 4-pin) for lens motors, daisy chainable
1x SERIAL (LEMO 4-pin) for distance measuring accessories
1x TC (LEMO 5-pin) for timecode In/Out
1x ETH (LEMO 10-pin) for remote control and service
1x SYNC IN (BNC) for Genlock synchronization
1x RET IN (BNC, switchable on SDI 2)
1x USB-C for user setups, look files etc.
1x Rear Interface (18-pin Pogo) for connection of modules and battery adapters
Wireless Interfaces
Built-in WiFi module (IEEE 802.11b/g)
Built-in White Radio for ARRI ECS lens and camera remote control
Lens Mounts
ARRI LPL Mount (LBUS)
ARRI PL-to-LPL Adapter
ARRI PL Mount (LBUS)
ARRI PL Mount (Hirose)
ARRI EF Mount (LBUS)
Leitz M Mount for ARRI
Flange Focal Depth
LPL mount: 44 mm
PL mount: 52 mm
Power Input
1x PWR (LEMO 8-pin)
1x BAT (camera rear interface / battery adapter)
20.5 - 33.6 V DC
Power Consumption
~ 90 W (Camera body and MVF-2)
Power Outputs
1x RS (Fischer 3-pin) for 24 V accessory power out, start/stop and shutter pulse
1x 12 V (LEMO 2-pin) for 12 V accessory power out
1x LBUS (LEMO 4-pin) for lens motors & 24 V power out, daisy-chainable
1x AUDIO (LEMO 6-pin) for balanced stereo line in and 12 V accessory power out
1x ETH (LEMO 10-pin) for remote control, service and 24 V accessory power out
With Power Distribution Module PDM-1: additionally 4x 24 V, 2x 12 V and 1x D-Tap
With LPS-1 Fiber Camera Adapter: additionally 1x 24 V and 3x 12 V
Measurements (HxWxL)
147 x 179 x 365 mm / 6.6 x 7.1 x 14.3"
(camera body, with PL Lens Mount (Hirose) and Fibre Camera Adapter)
Operating Temperature
-20° C to +45° C / -4° F to +113° F @ 95% relative humidity max, non condensing, splash and dust proof through sealed electronics, IP 51
Storage Temperature
-30° C to +70° C / -22° F to +158° F
Sound Level
< 20 dB(A) at 30fps, recording 4K 16:9 - UHD, Apple ProRes 4444 XQ, ≤ +30° ambient temperature
Software Licenses
ALEXA 35 Cine Plus License
ALEXA 35 ARRIRAW License
ALEXA 35 Open Gate/Anamorphic License
ALEXA 35 Highspeed License
ALEXA 35 Pre-record License
*Feature requires licensing and is not initially activated in the ALEXA 35 Live