ARRI ALEXA Plus 4:3 (Years Unknown)

At 8.4kg fully loaded, it’s not light—but what it captures in 14 stops of latitude redefined digital cinematography.

Overview

The ARRI ALEXA Plus 4:3 isn't a relic—it’s a benchmark. Though its production years remain undocumented, this camera carved its place in film history as “The Industry Workhorse,” a title earned through relentless reliability and image quality that still holds up years later. Built around ARRI’s ALEV III CMOS sensor with Dual Gain Architecture, it captures ARRIRAW at 2880 x 1620 photosites across a 23.760 x 13.365mm aperture, delivering a 16:9 aspect ratio in both ARRIRAW and HD modes. Despite the model name including "4:3," the sensor output aspect ratio in available documentation is listed as 16:9 for both ARRIRAW and HD modes, though a source specifies a 4x3 sensor aspect ratio, indicating potential for alternate cropping or differing interpretations of sensor vs. output aspect ratio.

Frame rates span from 0.75 to 60fps across ProRes and HD-SDI outputs, and with the High Speed license, that extends to 120fps—though ARRIRAW is capped at 60fps even with SUP 5.0 firmware. Every speed is adjustable in 1/1000fps increments, a precision that made it a favorite for complex motion control and time-lapse work. The electronic rolling shutter, while not global, was engineered to minimize skew in practical shooting conditions, and the shutter angle can be dialed from 5.0º to 358.0º at 1/10th degree precision below 60fps, locking to 356º in high-speed mode.

Its recording ecosystem was built for real-world workflows. Internally, it writes 1080p Apple ProRes 422 (HQ) or ProRes 4444 QuickTime files to SxS PRO cards, embedding two channels of audio and metadata XML. With 32 GB cards, ProRes 4444 tops out at 40fps; 64 GB cards and SUP 5.0 firmware unlock 60fps. The system is sealed against dust and moisture, relying on a single fan and radiator for cooling—a design that keeps noise under 20 dB(A) at 24fps when the fan is in 'Regular' mode, making it viable for sync-sound production without bulky blimps.

Specifications

Key Features

14 Stops of Exposure Latitude Across All EI Settings

The ALEXA Plus 4:3 delivers a consistent 14 stops of dynamic range regardless of the selected Exposure Index, from EI 160 up to EI 3200. This was not just a spec—it was a game-changer. Cinematographers could expose for highlights and pull shadow detail with confidence, a trait that made it a staple on high-contrast sets and exteriors. The ALEV III sensor’s Dual Gain Architecture contributed directly to this performance,

Electronic Rolling Shutter with Precise Angle Control

While not a global shutter, the electronic rolling shutter was engineered for predictability. The ability to set shutter angles from 5.0º to 358.0º in 1/10th degree increments gave cinematographers granular control over motion blur. At higher frame rates (60–120fps), the angle is fixed at 356º, a limitation imposed by sensor readout speed, but still sufficient for most high-speed applications. The precision in adjustment made it a favorite for matching lighting flicker or achieving specific motion aesthetics.

Internal ProRes and ARRIRAW Recording to SxS PRO Cards

Recording internally to SxS PRO cards in ProRes 422 (HQ) or ProRes 4444 simplified workflows long before SSD recorders became standard. With 64 GB cards and firmware SUP 5.0, the camera reached 60fps in ProRes 4444—enough for most narrative work. ARRIRAW, recorded at 12-bit log, offered maximum grading flexibility, though it required compatible media and post pipelines. The inclusion of embedded audio and metadata XML streamlined dailies and archiving.

Low-Noise Operation with Sealed Cooling System

Rated at under 20 dB(A) at 24fps with the fan in 'Regular' mode, the ALEXA Plus was quiet enough for direct sound recording. The sealed electronics and single-fan radiator system kept dust and moisture out while maintaining thermal stability—even in environments up to 45°C. This robustness made it a go-to for location shoots in extreme conditions, from deserts to urban grit.

ARRI EVF-1 with Full 1080p Monitoring Output

The bundled EVF-1 viewfinder offered 1280x720 resolution with ≤1 frame delay, critical for real-time monitoring. Its F-LCOS microdisplay and temperature-controlled LED illumination ensured consistent color and brightness. The MON OUT provided a clean 1920x1080 HD-SDI feed, useful for director or client monitoring. The viewfinder could be mounted on either side and adjusted in all axes, accommodating diverse rig configurations.

Historical Context

No production years or official launch history are documented in the available sources. However, the camera’s firmware dependencies (SUP 5.0) and use of SxS PRO cards place it firmly in the early 2010s digital cinema wave. It arrived during a period when ARRI was transitioning from film to digital dominance, and the ALEXA line became the de facto standard for high-end production. The “Industry Workhorse” moniker, cited in documentation, reflects its adoption across major films and series where reliability and image quality were non-negotiable.

Collectibility & Value

While original MSRP is unknown, current market data suggests strong residual value. A unit described as having “Low Hours” was listed for $25,000, and a sale was confirmed on REDUSER.NET, indicating active secondary market movement. Rental prices vary: Cineone lists the camera at €350/day or €1,400/week, while Elang Perkasa Film in Indonesia quotes Rp 10,000,000 per day. These figures reflect its continued relevance in professional workflows, though no data exists on common failures, repair difficulty, or spare parts availability.

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