ARRI Rental | ALEXA 65

The camera that relaunched a format

First announced in late 2014, the ARRI ALEXA 65 camera system offered the biggest canvas 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.

True 65 mm cinematography

With the largest sensor available, similar in size and shape to a 65 mm film frame, ALEXA 65 continues a rich history of 65 mm widescreen filmmaking.

Unsurpassed image quality

Capturing native 6.5K, ALEXA 65 has been used by some of the world's greatest filmmakers to create images that look stunningly life-like on the largest cinema screens, with pristine clarity and incredibly fine detail.

"Parasite"

"If Beale Street Could Talk"

"Mary Magdalene"

"Bohemian Rhapsody"

Diverse exclusive lenses

65 mm optics: learn more

LPL lens mount

ALEXA 65 is equipped with the same LPL lens mount as the ALEXA LF camera system. ARRI Lens Data System (LDS) functionality provides metadata for VFX.

Easy Mac-based workflow

With the introduction of 16-core Mac Pro towers, DITs can handle ALEXA 65 data with an off-the-shelf computer, making the 65 mm format accessible to a wider range of productions. A Mac workflow is cost-effective, especially in combination with Codex HDE (High Density Encoding), though for some productions Codex Vaults might still be the best option.

40% data savings with HDE

Developed in partnership with Codex, HDE (High Density Encoding) reduces ARRIRAW file sizes by up to 40%, with an equivalent reduction in data-related costs. It is lossless encoding, so the full ALEXA 65 image quality is retained. Over the course of a long-form production, HDE can bring significant savings.

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In your own words

Cinematographer Emmanuel "Chivo" Lubezki ASC, AMC ("The Revenant")

It's the first time I've shot with a camera that translates into images what I'm feeling when I'm on set. It's a beautiful, beautiful image.

Cinematographer Dan Laustsen ASC, DFF (“Nightmare Alley")

It wasn’t just about the resolution; I chose the ALEXA 65 because I knew we were going to do a lot of wide-angle close-ups, and this format is fantastic for that. The way it falls off is really, really beautiful. Especially with what we were doing, putting diffusion behind the lens.

Cinematographer Martin Ruhe ASC ("The Midnight Sky")

I loved the idea of the ALEXA 65 because of the big landscapes we had in Iceland, and to see all the detail in space...the details in faces and how immersive that is.

fantastic-beasts-the-crimes-of-grindelwald_cKFSMm

Cinematographer Philippe Rousselot ASC, AFC ("Fantastic Beasts 2" and "Without Remorse")

With the ALEXA 65 you have the widescreen format, the longer focal lengths, and the ease of spherical lenses. On top of that, the 65 mm sensor is fantastic, and it's a big benefit for visual effects.

Cinematographer Anthony Dod Mantle ASC, BSC, DFF ("Snowden")

The ALEXA 65 digital negative took me further and further in without any detail loss and no apparent noise or aberration, which was quite extraordinary.

Andre-Droz-Palermo-on-Green-Kight-see-metadta-for-credits-–-K_01673

Cinematographer Andrew Droz Palermo (“The Green Knight")

We wanted the world of 'The Green Knight' to feel wide and epic, yet intimate and immersive. Those goals are a little at odds, but the ALEXA 65 allowed us to get close to our subjects without losing a sense of their place within a landscape.

Cinematographer Maxime Alexandre ASC, CCS (“Never Let Go")

I can't imagine anything comparable to the ALEXA 65. I have never felt so cinematographically close to the feelings and emotions of actors and directors.

Technical data

Model

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 LPL mount)

Weight

10.5 kg | 23.2 lb

Lens mount

ARRI LPL 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: 5120 x 2880
1.50 Crop Mode: 4320 x 2880
LF Open Gate: 4448 x 3096
4K UHD: 3840 x 2160*

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 / EVF-2

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)

Miscellaneous 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

Explore ALEXA 65 projects

Until Dawn

Mickey 17

The Gorge

Wicked

Megalopolis

ALEXA 65 news

Mar. 25, 2025

ALEXA 65 on “Mickey 17”

Cinematographer Darius Khondji AFC, ASC talks to ARRI Rental about reuniting with director Bong Joon Ho and returning to the 65 mm format for their latest collaboration.

Jan. 6, 2025

“Wicked” in 65 mm with ALEXA 65

Alice Brooks ASC gives a detailed interview on how emotional cues dictated technical choices for Jon M. Chu’s movie adaptation of the hit musical.

Aug. 13, 2024

Simon Duggan ASC, ACS on “Furiosa: A Mad Max Saga”

ALEXA 65 with DNA lenses, including custom optics made specially by ARRI Rental, used to shoot the latest instalment in director George Miller’s post-apocalyptic franchise.

More news