ARRI has announced new software updates for its ALEXA 35 Live camera and Live Production System LPS-1 that “significantly enhance the functionality and ease of integration” of the ARRI Multicam System.

The new features enabled by ALEXA 35 SUP 6.0 and LPS-1 SUP 1.3 will be used at the 2026 Eurovision Song Contest in May, which ARRI is servicing with multiple ALEXA 35 Live camera systems in partnership with Riedel Communications.

ALEXA 35 Live cameras are now equipped with multi-matrix colour correction, which goes beyond basic colour correction by permitting users to adjust individual colour hues without affecting other colours in the scene. In a live, multi-camera environment this allows more precise colour matching between different camera channels, with colour correction targeted to the meet the specific needs of a production or location, or to overcome challenging light conditions.

Fine adjustment of the ALEXA 35 Live’s exposure index (EI) setting is now possible from a Remote Control Panel (RCP). Users can also switch the camera and RCP displays between EI values in ASA/ISO or gain values in dB. Real-time fine tuning of EI/gain enables live productions to make subtle corrections to exposure without changing the lens iris, ensuring consistent depth of field in the image.

A further new feature takes advantage of this capability by automatically compensating for the slight drop in illumination that can occur at long focal lengths. The ALEXA 35 Live is now able to continuously adjust the EI/gain in relation to light loss across the zoom range of compatible ENG and box zoom lenses, maintaining stable exposure and depth of field in every frame.

Three pre-installed user setups are now available in the ALEXA 35 Live for projects using 50p, 59.94p, or 60p frame rates. These setups automatically configure the camera with typical Multicam settings, saving users the trouble of having to adjust each setting individually.

“Scene File” support enabled by ALEXA 35 SUP 6.0 now allows Multicam users to create and recall custom video parameter settings from the connected RCP. This ensures consistent visual quality between different camera channels by establishing a unified baseline of settings such as white balance, gain, iris, gamma, sharpness, detail, and LUT to suit the conditions in the scene.

The ALEXA 35 Live’s knee point and knee slope can now be adjusted independently from an RCP. Highlights and bright areas can be compressed, helping the camera to handle high-contrast scenes while preserving detail and texture. The ability to adjust these parameters individually makes it easier to match highlight roll-off across multiple cameras when switching between feeds.

ALEXA 35 Live users can also now select between performing an Auto White Balance (AWB) on the center of the image or across the full frame. While the center measurement option is beneficial when a gray card is used to set AWB, the full-frame option takes the measurement from the whole scene when this is preferable or when use of a gray card is not possible.

The HDR white level setting defines the reference brightness used for processing HDR signals and is applied globally to all monitoring outputs configured for HDR output. It allows users to choose between 100 nits (traditional SDR reference) and 203 nits (commonly used in modern HDR workflows) to match the production pipeline, grading environment, or display requirements.

LPS-1 SUP 1.3 allows the ARRI Fiber Base Station to automatically detect an ALEXA 35 camera head when it is set to DHCP, rather than having to manually enter static IP addresses. This in turn allows easy swapping of Fiber Camera Adapters and camera heads between different base stations. The connected RCP can be configured to connect to the IP address of the base station rather than the ALEXA 35 camera head, which was not previously possible.

ALEXA 35 SUP 6.0 and LPS-1 SUP 1.3 are available for download at www.arri.com/sups