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Arriflex 35
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Arriflex 35
The Arriflex 35 was the first reflex 35mm production motion picture camera, released by German manufacturer Arri in 1937.
It was built around the spinning reflex twin-bladed "butterfly" mirror shutter designed by Erich Kästner, chief engineer at Arnold & Richter Cine Technik (ARRI), Arri Group, set at 45 degrees horizontally to the lens axis. This mirror reflex system was invented in 1931. Modern standard models have a maximum shutter exposure opening of 165 degrees, (not 180 degrees as claimed in Arri manuals), the 35 IIC-BV model having a variable shutter. The mirror shutter allows the camera operator to see a viewfinder image equal to the recorded picture, without parallax, although there is noticeable image flicker in the viewfinder when the camera is running, caused by the two open exposure segments of the mirror shutter.
The camera utilizes a three lens turret with three aluminum Arri lens mounts (later 35 IIC/B with one stainless steel bayonet mount and two aluminum Arri mounts), and is capable of frame rates up to 80 frames per second with an accessory speed unit. Film magazines are for 200 ft or 400 ft loads. The DC motor is mounted downwards as a handgrip. Later flat base DC motor mount units were developed e.g. by the Cine 60 company, allowing the camera to have a lower profile, where the motor is mounted on the side of the camera body vertically upwards, allowing the camera to be mounted on standard tripod heads without a special head accommodating the handgrip motor, and providing a more compact profile for 'blimping'.
It is still used extensively in motion pictures for sequences without synchronous sound - "motor only sync" - and unique camera movement, e.g. on Steadicam. It was widely used with 200 ft loads (the smaller 200 ft magazine was in production at that time) as a 'battlefield camera' for the German Wehrmacht during World War II for collecting battlefront intelligence, (e.g. for analyzing weapons effectiveness), for training films and for use in propaganda cinema films.
The Arriflex 35 was introduced as a handheld newsreel camera at the Leipzig Trade Fare in 1937. Although originally intended, the camera was just too late to be used at Leni Riefenstahl's Olympia I & II, therefore she shot on a Parvo camera. The US army captured some models and brought this camera to the US in the 1940s, where it served as a prototype for the almost identical Cineflex PH 330.
Due to its importance during World war II footage, Arriflex 35 cameras were later used in the Nuremberg Trials.The original Arriflex 35 had three Arri standard mounts on a rotating turret. The viewfinder was a fixed tube on the camera door. It used both 200 ft and 400 ft magazines.
The first American feature film made using a captured Arriflex 35 was Dark Passage by Delmer Daves.
This model was released in 1946 and had three Arri standard mounts. It could also load 400 ft magazines and had a simple eccentric screw pull down mechanism. ARRI began importing this camera to the US in 1947. The Arriflex 35 became a commonly used camera among New Wave filmmakers.
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Arriflex 35
The Arriflex 35 was the first reflex 35mm production motion picture camera, released by German manufacturer Arri in 1937.
It was built around the spinning reflex twin-bladed "butterfly" mirror shutter designed by Erich Kästner, chief engineer at Arnold & Richter Cine Technik (ARRI), Arri Group, set at 45 degrees horizontally to the lens axis. This mirror reflex system was invented in 1931. Modern standard models have a maximum shutter exposure opening of 165 degrees, (not 180 degrees as claimed in Arri manuals), the 35 IIC-BV model having a variable shutter. The mirror shutter allows the camera operator to see a viewfinder image equal to the recorded picture, without parallax, although there is noticeable image flicker in the viewfinder when the camera is running, caused by the two open exposure segments of the mirror shutter.
The camera utilizes a three lens turret with three aluminum Arri lens mounts (later 35 IIC/B with one stainless steel bayonet mount and two aluminum Arri mounts), and is capable of frame rates up to 80 frames per second with an accessory speed unit. Film magazines are for 200 ft or 400 ft loads. The DC motor is mounted downwards as a handgrip. Later flat base DC motor mount units were developed e.g. by the Cine 60 company, allowing the camera to have a lower profile, where the motor is mounted on the side of the camera body vertically upwards, allowing the camera to be mounted on standard tripod heads without a special head accommodating the handgrip motor, and providing a more compact profile for 'blimping'.
It is still used extensively in motion pictures for sequences without synchronous sound - "motor only sync" - and unique camera movement, e.g. on Steadicam. It was widely used with 200 ft loads (the smaller 200 ft magazine was in production at that time) as a 'battlefield camera' for the German Wehrmacht during World War II for collecting battlefront intelligence, (e.g. for analyzing weapons effectiveness), for training films and for use in propaganda cinema films.
The Arriflex 35 was introduced as a handheld newsreel camera at the Leipzig Trade Fare in 1937. Although originally intended, the camera was just too late to be used at Leni Riefenstahl's Olympia I & II, therefore she shot on a Parvo camera. The US army captured some models and brought this camera to the US in the 1940s, where it served as a prototype for the almost identical Cineflex PH 330.
Due to its importance during World war II footage, Arriflex 35 cameras were later used in the Nuremberg Trials.The original Arriflex 35 had three Arri standard mounts on a rotating turret. The viewfinder was a fixed tube on the camera door. It used both 200 ft and 400 ft magazines.
The first American feature film made using a captured Arriflex 35 was Dark Passage by Delmer Daves.
This model was released in 1946 and had three Arri standard mounts. It could also load 400 ft magazines and had a simple eccentric screw pull down mechanism. ARRI began importing this camera to the US in 1947. The Arriflex 35 became a commonly used camera among New Wave filmmakers.