ARRI ALEXA Plus 4:3 (Years Unknown)

At 8.4kg fully loaded, it's not light. It does record 14 stops of latitude, though.

Overview

The ARRI ALEXA Plus 4:3 is a benchmark. Its production years are undocumented. It earned the name "The Industry Workhorse" through reliability and image quality that still holds up years later. It is built around ARRI's ALEV III CMOS sensor with Dual Gain Architecture, and it captures ARRIRAW at 2880 x 1620 photosites across a 23.760 x 13.365mm aperture. That gives a 16:9 aspect ratio in both ARRIRAW and HD modes. The model name says "4:3," but the available documentation lists the sensor output aspect ratio as 16:9 for both ARRIRAW and HD modes. One source specifies a 4x3 sensor aspect ratio, which could point to alternate cropping or a different reading of sensor versus output aspect ratio.

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

Internally, the camera writes 1080p Apple ProRes 422 (HQ) or ProRes 4444 QuickTime files to SxS PRO cards, with two channels of audio and metadata XML embedded. With 32 GB cards, ProRes 4444 tops out at 40fps. 64 GB cards and SUP 5.0 firmware unlock 60fps. The body is sealed against dust and moisture and cooled by a single fan and radiator. Noise stays under 20 dB(A) at 24fps with the fan in 'Regular' mode, so it works for sync-sound production without bulky blimps.

Specifications

Manufacturer	ARRI
Product type	35 format film-style digital camera
Sensor Type	35 format ALEV III CMOS with Dual Gain Architecture (DGA) and Bayer pattern color filter array
Sensor Aperture Mode Dimensions (ARRIRAW)	23.760 x 13.365mm / 0.9354 x 0.5262"
Sensor Aperture Mode Aspect Ratio (ARRIRAW)	16:9
Sensor Photosites (ARRIRAW)	2880 x 1620
Sensor Aperture Mode Dimensions (HD)	23.76 x13.365 mm / 0.9354x0.5262"
Sensor Aperture Mode Aspect Ratio (HD)	16:9
Sensor Photosites (HD)	2880 x 1620 down sampled to 1920 x 1080 for HD video and ProRes
Operating Modes	Regular or High Speed mode. High Speed mode needs license
Frame Rates (ProRes 422 variants)	0.75 – 60fps
Frame Rates (ProRes 422 variants with High Speed license)	0.75 – 120fps
Frame Rates (ProRes 4444 with 32 GB SxS PRO cards)	0.75 – 40fps
Frame Rates (ProRes 4444 with 64 GB SxS PRO cards, SUP 5.0 or later)	0.75 – 60fps
Frame Rates (HD-SDI)	0.75 – 60fps
Frame Rates (ARRIRAW SUP 5.0 or later)	0.75 – 60fps
Frame Rate Adjustment	All speeds adjustable with 1/1000fps precision
Data Recording (ARRIRAW)	12 bit log
Data Recording (HD)	10 bit lin / log
Viewfinder Resolution	1280x720 pixels
Viewfinder Aspect Ratio	16:9
MON Out Resolution	1920x1080 pixels
MON Out Aspect Ratio	16:9
Recording	Internal to SxS PRO memory cards 1080p Apple ProRes 422 (HQ) or Apple ProRes 4444 QuickTime® with embedded 2-ch audio and ancillary metadata xml-file
Sound	Under 20 db(A) @ 24 fps and ≤ +30° Celsius (≤ +86° Fahrenheit) with lens attached and fan mode set to 'Regular', measured 1 m/3 feet in front of the lens
Power Draw	85 W power draw for camera and EVF-1 in typical use recording 24 fps to SxS PRO cards, without accessories
Dimensions (Length)	332 mm/12.95"
Dimensions (Width)	175mm/6.89"
Dimensions (Height)	158mm/6.22"
Weight (Camera body + SxS Module)	7.0kg / 15.4lbs
Weight (Camera body + SxS Module + EVF-1 + Viewfinder Mounting Bracket VMB-2 + viewfinder cable + Center Camera Handle CCH-1)	8.4kg / 18.5lbs
Operating Temperature	-20°C to +45°C (-4°F to +113°F) @ 95% humidity max, non condensing
Lens Mount	ARRI Exchangeable Lens Mount (ELM); Lens Adapter PL Mount w/o LDS, 54 mm stainless steel PL mount, Super 35 centered
Flange Focal Depth	52.00 mm nominal
Shutter	Electronic rolling shutter
Shutter Angle Range (0.75 – 60fps)	5.0º – 358.0º
Shutter Angle Range (60 – 120fps)	356º
Shutter Angle Setting Precision	1/10 degree
Viewfinder Type	Low latency (≤1 frame delay) electronic color viewfinder ARRI EVF-1 with 1280 x 784 F-LCOS micro display (image: 1280 x 720, status bars: 1280 x 32 above and 1280 x 32 below image) and ARRI LED illumination, both temperature controlled
Exposure Latitude	14 stops for all sensitivity settings from EI 160 to EI 3200, as measured with ARRI Dynamic Range Text Chart (DRTC)
Exposure Index (EI) Settings	160, 200, 400, 800, 1600, 3200
White Balance Range (Red/Blue)	2000 to 11000 Kelvin, adjustable in 100 K steps
White Balance Presets	3200 (tungsten), 4300 (fluorescent), 5600 (daylight) and 7000 (daylight cool)
Color Correction (Green/Magenta) Range	-8 to +8 color correction (CC)
Connectors	2x slots for SxS PRO cards (SxS), 2x BNC recording out HD-SDI (REC OUT 1 and REC OUT 2), 1x BNC monitoring out HD-SDI (MON OUT), 1x XLR 5 pin audio in (AUDIO IN), 1x BNC return signal HD-SDI (RET/SYNC IN), 1x LEMO 16 pin external accessory interface (EXT), 1x Fischer 2 pin 24V power in (BAT), 2x Fischer 3 pin 24V remote start and accessory power out (RS), 1x LEMO 2 pin 12V accessory power out (12V), 1x LEMO 5 pin timecode in/out (TC), 1x TRS 3.5mm headphone mini stereo jack out (AUDIO OUT), 1x LEMO custom 16 pin electronic viewfinder (EVF), 1x LEMO 10 pin Ethernet with 24V power (ETHERNET), 2x Fischer 5 pin Lens Control System (LCS), 1x Fischer 5 pin Lens Data Display (LDD), 1x Fischer 12 pin for CLM-2, CLM-3 or later (RIS), 1x Fischer 12 pin for CLM-2, CLM-3 or later (ZOOM), 1x Fischer 12 pin for CLM-2, CLM-3 or later (FOCUS)
Records	Apple QuickTime/ProRes files or MFX/DNxHD
Construction	Splash and dust proof through sealed electronics. System cooling through radiator/single fan
Viewfinder Mounting	Viewfinder Mounting Bracket allows movement of viewfinder forward/backwards, left/right, up/down, 360 degree rotation and placement on camera left or right

Key Features

14 Stops of Exposure Latitude Across All EI Settings

The ALEXA Plus 4:3 delivers a consistent 14 stops of dynamic range at any Exposure Index, from EI 160 up to EI 3200. Cinematographers could expose for highlights and pull shadow detail with confidence, which 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

The electronic rolling shutter is not global, but it was engineered for predictability. Shutter angles can be set from 5.0º to 358.0º in 1/10th degree increments, which gave cinematographers fine control over motion blur. At higher frame rates (60-120fps), the angle is fixed at 356º. That limit comes from sensor readout speed, but it is still enough for most high-speed work. The fine adjustment made it a favorite for matching lighting flicker or achieving specific motion looks.

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. ARRIRAW, recorded at 12-bit log, offered the most grading flexibility, but it required compatible media and post pipelines. The 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 and held thermal stability in environments up to 45°C. That 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. Its F-LCOS microdisplay and temperature-controlled LED illumination kept color and brightness consistent. The MON OUT provided a clean 1920x1080 HD-SDI feed for director or client monitoring. The viewfinder could be mounted on either side and adjusted in all axes to fit different rig configurations.

Historical Context

No production years or official launch history are documented in the available sources. The firmware dependency (SUP 5.0) and the use of SxS PRO cards place the camera in the early 2010s digital cinema wave. It arrived while ARRI was moving from film to digital, and the ALEXA line became the standard for high-end production. The "Industry Workhorse" name, cited in documentation, reflects its adoption across major films and series.

Collectibility & Value

Original MSRP is unknown. A unit described as having "Low Hours" was listed for $25,000, and a sale was confirmed on REDUSER.NET. 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. No data exists on common failures, repair difficulty, or spare parts availability.