Surprise, surprise — or maybe not? — The ARRI ALEXA 35 Premium Production Set (15mm Studio and 19mm Studio) is still listed at B&H for $67,770, a $18,500 drop from its original price.
For those who are not familiar with the camera, here is a short summary: The ARRI ALEXA 35 is a Super 35 digital cinema camera featuring a new 4.6K ALEV 4 sensor offering improved highlight and shadow detail compared to previous ARRI models. (See our CineD camera lab test here.) The camera introduces ARRI’s REVEAL color science and supports EI values from 160 to 6400, with an Enhanced Sensitivity mode for low-light use.
ARRI ALEXA 35. Credit: CineD
The camera body is compact and lightweight, with built-in motorized ND filters, dual 12G-SDI outputs, USB-C, Ethernet, and compatibility with modular accessories. It supports both ARRIRAW and ProRes recording in multiple formats and frame rates up to 120 fps, depending on the licensing tier.
ARRI has moved to a licensing model where advanced features like high-speed recording, Open Gate, ARRIRAW, and anamorphic modes are only available via paid upgrades. The base model includes core functionality, while a full premium license unlocks all features.
The ALEXA 35 is designed for durability in production environments, with weather sealing and rugged construction. New Codex Compact Drive Express media offers a lower-cost option for ProRes workflows.
Now, while the ARRI ALEXA 35 base model still sells for $54,590, to the best of our knowledge, it is the first time that we see a price reduction on the “Premium Production Set”.
ARRI ALEXA 35 Base set. Credit: B&H
Now, while the Base production set is NOT reduced in price, here is a quick overview of the differences between the sets.
Sets Comparison: Base versus premium productionALEXA 35 Base Entry Set (LPL, CCM)
Purpose:
Entry-level, affordable package for lightweight builds or owner-operators. Best suited for spherical shooting with standard ProRes workflows.
Core Specs & Features:
- License: Base License only
- Frame rates up to 60 fps
- ProRes recording only
- 16:9 and 2:1 spherical formats
- Upgradable to Premium via licenses (sold separately)
Included Accessories:
- LPL Mount (LBUS)
- PL-to-LPL Adapter
- Camera Control Monitor CCM-1 (not MVF-2)
- Bridge Plate Adapter BPA-6
- Center Camera Handle CCH-4
- B-Mount Battery Adapter
- Balance Utility Dovetail (BUD-1)
- Universal Adapter Plate (UAP-3)
Missing:
- No ARRIRAW, Open Gate, anamorphic, or look library features
- No power distribution or MVF-2 viewfinder
- No pre-recording buffer
ARRI ALEXA 35 Premium production set. Credit: B&HALEXA 35 Premium Production Set (15mm)
Purpose:
Fully equipped for high-end production environments. Designed for traditional camera departments and flexible on-set use.
Core Specs & Features:
- License: Premium License (permanent)
- Frame rates up to 120 fps
- ProRes + ARRIRAW recording
- All formats, including Open Gate and anamorphic
- In-camera anamorphic de-squeeze
- Access to ARRI Textures, Look Library, and Custom Color Management
- Pre-recording buffer support
Included Accessories:
- LPL Mount (LBUS)
- PL-to-LPL Adapter
- Multi Viewfinder MVF-2 (with cable)
- Power Distribution Module (PDM-1)
- Production Support Sets: Top, Side, Bottom (15mm)
- Bridge plate CBP-6 with shoulder pad (supports 15mm studio & lightweight rods)
- Center Camera Handle CCH-5 (larger, full-size)
- Viewfinder Mounting Bracket VMB-5
Designed for:
- Full-size rigs
- Studio and location production
- Anamorphic, VFX, high-speed, or ARRIRAW workflows
In short: If you’re looking for flexibility and future-proofing, the Premium Production Set gives you everything out of the box. The Base Entry Set is a cost-effective way to get started, but expect to pay more later for feature licenses and rigging upgrades.
So why is the ARRI ALEXA 35 Premium Production Set price being reduced?
Well, we can only assume and speculate here, but it’s no secret that the upper tier of our industry is currently struggling. From what we’re hearing through industry contacts, second-hand ARRI ALEXA 35 cameras in good condition are becoming easier to find. Add to that the ongoing pressure ARRI is likely feeling from other manufacturers releasing competitive cameras at aggressive prices — and there you have it: a significant price drop.
Last but not least, a few weeks ago on our Focus Check podcast, Nino and I discussed the possibility of ARRI developing a camera for the masses. While that might not be feasible for the company, we hope they’ll consider licensing their technology to others who could. As a side note, at IBC 2025, ARRI was noticeably absent from the show floor — and if you listened closely, there were quiet murmurs that the company might be up for sale soon.
What do you think about ARRI’s price drop? Is it a sign of things to come? Share your thoughts with us in the comments below.