JOK-21839 copy


Our exclusive 65 mm digital camera system.

ALEXA 65 logo - POS_color_grey70%-08
The most cinematic format

ARRI Rental's exclusive ALEXA 65 system offers 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. ALEXA 65 represents the pinnacle and flagship of the ALEXA camera platform.

True 65 mm cinematography

Sensor dimensions 3

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.

3 - Parasite


6 - If Beale Street Could Talk copy

"If Beale Street Could Talk"


"Mary Magdalene"

1 - Bohemian Rhapsody

"Bohemian Rhapsody"

AR_65_Lens_Range copy4
Diverse exclusive lenses

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.


Get in touch

Let us tell you more about ALEXA 65...

In your own words

quote_emanuel lubezki

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.


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.

Sacha_3403 Snowden_2016

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.


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
Camera type
65 mm format digital cinema camera
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)
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)
10.5 kg | 23.2 lb
Lens mount
ARRI LPL mount with Lens Data System (LDS) functionality
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*
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
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
3 independent color outputs, all with optional overlays:
MON OUT assistive displays:
Zoom, overscan, overlay info, frame lines, false color exposure check, peaking focus check
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


Smile 2


Furiosa: A Mad Max Saga


Dune Part 2

The Ones Who Live

The Walking Dead: The Ones Who Live