Upgrade ALEXA 35 to ALEXA 35 Xtreme

ALEXA 35 Xtreme Upgrade-Kit - upgrade your ALEXA 35 to Xtreme

Included:

K4.0053686 1x ALEXA 35 Xtreme Upgrade-Kit
10.0000024 12,5 hrs Labor

The ALEXA 35 Xtreme answers filmmakers’ wishes with higher frame rates, a new high-quality codec that reduces data rates, longer pre-recording times, lower power consumption, and improved WiFi capabilities. ALEXA 35 Xtreme is available as a new camera or as an upgrade to existing ALEXA 35 cameras.

Offering frame rates up to 660 fps, the ALEXA 35 Xtreme eliminates the need to carry an extra high-speed camera on most shoots, thereby saving productions money and making high-speed shots easier to match with standard-speed shots in post. This is enabled by a powerful new main processor, equipped with more and faster on-board memory. Frame rates up to 330 fps retain the camera’s full 17 stops of dynamic range, while a new Sensor Overdrive mode allows frame rates up to 660 fps at a reduced dynamic range of 11 stops.

ARRICORE - the next-generation RGB codec for faster frame rates withouth sacrificing quality

Accompanying the ALEXA 35 Xtreme is ARRICORE, a next-generation RGB codec developed by ARRI to make the camera's superb image quality more affordable through reduced data rates. At the same time, flexibility in post is assured, since sensitivity, white balance, and tint are not baked in. Switching to ARRICORE is easy because on-set and post workflows remain consistent with existing ALEXA 35 codecs and drives.

ARRI Textures, metadata, the MXF wrapper, and audio will behave in a familiar way. Now in the final stages of optimization, ARRICORE is being released initially as a beta version, with early user feedback helping to finesse its performance. Most third-party tools that already support the current ALEXA 35 codecs will also support ARRICORE.

Pre-recording times are five times longer with the ALEXA 35 Xtreme, which will simplify high-speed capture for everyone and is essential to documentary filmmakers. The ALEXA 35 Xtreme pre-recording time is 30 seconds when shooting 24 fps Apple ProRes in the highest resolution (4.6K Open Gate), or a full five minutes when shooting 24 fps Apple ProRes 422 HQ in HD. These are the longest pre-recording times available in any cinema camera.

Additional improvements include 10% power savings over the ALEXA 35, as well as better wireless connectivity to accessories and tools like the ARRI Camera

Companion App through compatibility with the WiFi 5 GHZ band, WiFi roaming in a mesh network, and auto-reconnect to previously known networks.
Since the camera retains its compact housing, as well as all connectors and mechanical interfaces, it remains compatible with ARRI's vast ecosystem of electronic and mechanical accessories.

This includes lens mounts, brackets, handles, the Audio Extension Module AEM-1, Power Distribution Module PDM-1, Camera Companion App, and Live Production System LPS-1, as well as the CODEX Compact Drive 2TB, 1TB, and Express 1TB. The Camera Control Monitor CCM-1 and the Hi-5 are also compatible, however updates for supporting the new features of the ALEXA 35 Xtreme are pending.

REVEAL Colour Science

ARRI’s discussions with filmmakers and careful review of the image pipeline have led to significant improvements in image quality and a faster, easier workflow. REVEAL Colour Science is the collective name for a suite of new image processing steps used by ALEXA 35 internally and also available through leading third-party postproduction tools for ARRIRAW processing.

It includes an improved debayering algorithm for cleaner compositing, a new colour engine for more accurate colour reproduction, a new wide gamut colour space for fastergrading, new LogC4 encoding to contain the increased dynamic range, and newLogC4 LUTs (Look Up Tables) for improved colour fidelity.While bringing out the best of the ALEXA 35’s new sensor, REVEAL ColourScience is also backwards compatible.

ARRIRAW footage captured by ALEXALF and Mini LF cameras can be processed with REVEAL Colour Science, gainingmany of its advantages. This means that the ALEXA 35 and ARRI’s large-formatcameras can be combined on set and can also share LogC4 LUTs in post.