Looks like the Alexa has got a big reboot with the Alexa 65 a digital 65 mm camera. The 54.12mm x 25.58mm sensor.has a 6560 x 3105 resolution, giving a gate aperture the same as 5 perf 65mm film.

Further details can be found in a free download at FD Times.

http://www.fdtimes.com/

Also from Arri:

ARRI Rental | ALEXA 65 (http://arrirentalgroup.com/alexa65/)

it feels like yesterday when they kept saying that "2K is here to stay"

Matt Duclos has a discussion over at his blog on WordPress around the lens side of the equation as well.

This camera is interesting because at 1,78:1 is 5,5K with an image area of bigger than FF and at 1,5:1 is 4,5K with an image are which roughly corresponds to FF.
Since there is no 6,5K projector this camera is basically for VFX work, because at the end you have to downconvert to 4K for projection. Of course you can transfer to 70mm film for IMAX, but I doubt there is a machine capable of projecting 6,5K for film capture.

Arri tend to allow space around their sensor for outside edge of frame viewing etc in the V/F. I don't see Arri making a camera like this just for VFX, it'll also be as the main camera for high end 4K productions.

The Alexa is 2880 x 1620, so the new camera's sensor fits in roughly with that pixel count for 4k.

Keep in mind that a 4K Bayer sensor camera has a lower resolution than an RGB 4K display or projector. Capturing on a 6K Bayer sensor and down-ressing will produce (at least) 4K resolution results.

Or, if you don't need the absolute highest resolution, you can film wide and adjust the framing in post.

As a cinema (not sports/news) camera, it's not really expected to go straight to the screen.

I'm looking forward to seeing the first film made with this camera. It should be stunning - not just because of the camera, but because of the budget and image-consciousness of those who would choose it!

For the type of film this camera is likely to be used for, I suspect that camera rental etc costs are likely to be a relatively small proportion of the total budget, and the difference between this and what might otherwise be used pretty irrelevant in percentage terms. (Although in itself may be bigger than the whole budget for a small movie! :-) )

Accept that, and it becomes a case less of why use it, than why not use it?

One thing we have yet to see is how filmic/beautiful the images will be. The Alexa lags behind its competition in resolution, but its colors and feel can be gorgeous. I remember seeing the short that Philip Bloom shot with one at the beach. I can't put my finger on why it looked so good, but it was a clear step ahead of the stuff he had shot in that timeframe on DSLRs and his (short-lived) RED.

And maybe that's why Arri went with such a behemoth sensor. They wanted the same look and quality that they get from the Alexa. And they wanted 6K. Cramming 6K into S35 would have increased noise and would have compromised their look. At 65mm, they could let the photosites breathe. :)

Regarding rental rates, it's not just the one camera. A big film might require multiple cameras (for action scenes anyway), multiple crews, and backups. And then there are the lenses. Those big, glorious lenses. The camera van will need armed guards (as likely required by their insurer.)

Regarding rental rates, it's not just the one camera. A big film might require multiple cameras (for action scenes anyway), multiple crews, and backups.
Indeed, but I think Arri themselves say that not all of them would need to be the 65, and not all of them may need to have the full complement of lenses. From the Arri brochure:
The overall performance, cost-efficiency and flexibility of the ALEXA 65 will allow many high-profile productions the choice to shoot with 65 mm digital in their entirety, or alternatively, utilise the scale and fidelity of the large capture format for selected establishing shots or high-impact VFX sequences.

One thing we have yet to see is how filmic/beautiful the images will be. [...] And maybe that's why Arri went with such a behemoth sensor. They wanted the same look and quality that they get from the Alexa.

Yep, I agree -- it seems that it's the sensor pixel-size that's the ultimate factor for achieving that (often elusive) film-look.

-- peer

The look and image characteristics are exactly the same as Alexa's.
The 65 sensor is 3 Alexa sensors stitched vertically. That means that footage can intercut seamlessly with the 2 cameras, bar the differences from the lenses.