ARRI has announced the ALEXA 35 Live Xtreme, which was designed to deliver up to 8x HFR via SDI for live productions. Together with ARRI’s Live Production System LPS-1, the camera is being squarely targeted at live entertainment events such as sports and concerts. With the Riedel Group purchasing ARRI, it is no big surprise that the company is continuing to push more into broadcast applications.
The ALEXA 35 Live Xtreme comes permanently pre-installed with the existing High Speed License for ALEXA 35 and a new High Frame Rate SDI License.
When combined with the ARRI LPS-1 Fiber Camera Adapter and Fiber Base Station (and a standard slow-motion playout server such as SimplyLive or EVS), the camera outputs HFR at up to 8x in HD or 2x in UHD.
Live Production System LPS-1
The Live Production System LPS-1 consists of the Fiber Camera Adapter and the Fiber Base Station. They can be connected either with a hybrid fiber cable that delivers both power and uncompressed 4K video over distances up to 2 km, or with a tactical fiber cable up to 10 km in length. An extra fiber tunnel and Ethernet tunnel increase the system’s flexibility with additional video, audio, or control signals.
Up to 4x HFR can be output via a single SDI connector, and higher speeds are split across both SDI outputs. Frame rates up to 330 fps use the camera’s full dynamic range of 17 stops, while a Sensor Overdrive mode enables frame rates up to 480 fps at a dynamic range of 11 stops. Regardless of what frame rate is chosen for the slow-motion feed, the system simultaneously outputs a live feed for broadcast, allowing operators to switch between the program frame rate and HFR in real time. A unique phase-blending feature is claimed to provide control over motion blur and shutter effects in the live feed.
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
3.8K 16:9: 3840 x 2160
3.8K 2.39:1: 3840 x 1608
3.3K 6:5: 3328 x 2790*
2K 16:9 S16: 2048 x 1152
HD 16:9 S16: 1920 x 1080
*Compact Drive 1TB / 2TB, *with Sensor Overdrive
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″
3.8K 16:9: 23.3 x 13.1 mm / 0,918 x 0.516″
3.8K 2.39:1: 23.3 x 9.8 mm / 0.918 x 0.386″
3.3K 6:5: 20.22 x 16.95 mm / 0.796 x 0.693″
2K 16:9 S16: 12.4 x 7.0 mm / 0.490 x 0.276″
HD 16:9 S16: 11.7 x 6.6 mm / 0.461 x 0.260″
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 16:9: 4K (4096 x 2304), UHD (3840 x 2160), 2K (2048 x 1152), HD (1920 x 1080)
3.8K 16:9: UHD (3840 x 2160)
3.8K 2.39:1: 3.8K (3840 x 1608)
3.3K 6:5: 3.3K (3328 x 2790), 3.8K (3840 x 1608)
2K 16:9 S16: 2K (2048 x 1152)
HD 16:9 S16: HD (1920 x 1080)
Recording Frame Rates
ARRIRAW 4.6K 3:2 Open Gate: 35 / 80 fps
ARRIRAW 4.6K 16:9: 45 / 95 fps
ARRIRAW 4K 16:9: 55 / 125 fps
ARRIRAW 3.8K 16:9: 65 / 140 fps
ARRIRAW 3.8K 2.39:1: 85 / 190 fps
ARRIRAW 3.3K 6:5 – 3.3K: 55 / 120 fps
ARRIRAW 2K 16:9 S16: 230 / 330 fps
ARRIRAW HD 16:9 S16: 260 / 330 fps
ARRICORE 4.6K 3:2 Open Gate: 80 / 120 / 165* fps
ARRICORE 4.6K 16:9: 100 / 150 / 200* fps
ARRICORE 4K 16:9: 125 / 150 / 210* fps
ARRICORE 3.8K 16:9: 145 / 150 / 240* fps
ARRICORE 3.8K 2.39:1: 195 / 240 fps
ARRICORE 3.3K 6:5 – 3.3K: 120 / 120 / 210* fps
ARRICORE 2K 16:9 S16: 330 / 330 / 660* fps
ARRICORE HD 16:9 S16: 330 / 330 / 660* fps
Apple ProRes 4444 4.6K 3:2 Open Gate: 90 / 120 fps
Apple ProRes 4444 4.6K 16:9: 110 / 150 fps
Apple ProRes 4444 4K 16:9 – 4K: 135 / 150 fps
Apple ProRes 4444 4K 16:9 – UHD: 150 / 150 fps
Apple ProRes 4444 4K 16:9 – 2K: 150 / 150 fps
Apple ProRes 4444 4K 16:9 – HD: 150 / 150 fps
Apple ProRes 4444 3.8K 16:9: 150 / 150 fps
Apple ProRes 4444 3.8K 2.39:1: 210 / 240 fps
Apple ProRes 4444 3.3K 6:5 – 3.3K: 120 / 120 fps
Apple ProRes 4444 3.3K 6:5 – 3.8K 2.39:1 Ana. 2x: 120 / 120 fps
Apple ProRes 4444 2K 16:9 S16: 330 / 330 fps
Apple ProRes 4444 HD 16:9 S16: 330 / 330 fps
Users can choose looks from the ARRI Look Library, try ARRI’s Multicam looks, or build their own LUTs—with traditional live painting still possible no matter what look is chosen.
Sports broadcasting is a key application area for the ALEXA 35 Live Xtreme, with coverage of indoor, outdoor, individual, and team events set to benefit. The camera’s wide dynamic range helps capture high-contrast environments such as winter sports. Since a separate high-speed camera is no longer required, the HFR content now has the same ARRI look as the regular feed, so a consistent visual style can be maintained across both the live coverage and highlight reels.
When using ALEXA 35 Live Xtreme on a live production, everyone from the engineers and operators to shaders and directors can do their job in the normal way. The LPS-1 Fiber Base Station simply plugs directly into the slow-motion playout server and an HFR signal is available from the camera via a standard baseband workflow. Super-slow-motion replays are available instantly, without any need to cue up recorded material for playback.
The ALEXA 35 Live Xtreme joins the ALEXA 35 Live in ARRI’s current broadcast lineup. ALEXA 35 Live cameras sold from 2026 onwards can be upgraded to Xtreme functionality with the purchase of High Speed and HFR SDI Licenses from the ARRI online shop. Pre-2026 ALEXA 35 Live cameras need a hardware upgrade, available through ARRI service centers. Further upgrade options can equip ALEXA 35 cine cameras for multi-camera broadcast applications.
The ALEXA 35 Live Xtreme is available to order now.
