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The Arriflex 35, released by Arri in 1937, was the first reflex 35mm production motion picture camera.
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. [1] 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. [2] 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. [3]
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 200ft and 400ft 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 400ft 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.
Introduced in 1953, the Arriflex 35 IIA featured a more robust steel film gate. It also used a 180° shutter made possible by a more efficient cardioid cam movement design.
Released in 1958, this model reduced the shutter angle to 165° and added some improvements to the viewfinder.
The Arriflex 35 IIC was introduced in 1963, and had a larger ground glass and a movable viewfinder. It also allowed shooting anamorphic and seeing a desqueezed frame. It became a film production standard. It originally came with 3 Standard Mounts, while later models (after 1965) had the option of Bayonet mounts. After 1980 many were converted to hard front with a single PL mount.
Stanley Kubrick used the Arriflex 35 IIC on A Clockwork Orange . [4] The Pan Arri 35 IIC had one Panavision compatible lens mount and was used for Star Wars: A New Hope . [5]
Some Arriflex 35 IIC were used until the 2010s, for example in Savages in 2012.
The Arriflex 35 IIIC was released in 1982. It removed the turret and only featured a single PL mount, had a crystal sync handgrip motor with 12V and 5-50 fps, forward and reverse. This camera was not as successful as the Arriflex 35 IIC, and only a few models are still available.
A single-lens reflex camera (SLR) is a camera that typically uses a mirror and prism system that permits the photographer to view through the lens and see exactly what will be captured. With twin lens reflex and rangefinder cameras, the viewed image could be significantly different from the final image. When the shutter button is pressed on most SLRs, the mirror flips out of the light path, allowing light to pass through to the light receptor and the image to be captured.
The Nikon F camera, introduced in April 1959, was Nikon's first SLR camera. It was one of the most advanced cameras of its day. Although many of the concepts had already been introduced elsewhere, it was revolutionary in that it was the first to combine them all in one camera. It was produced until October 1973 and was replaced by the Nikon F2. Aspects of its design remain in all of Nikon's subsequent SLR cameras, through the current Nikon F6 film and Nikon D6 digital models. The "F" in Nikon F was selected from the term "re-f-lex", since the pronunciation of the first letter "R" is not available in many Asian languages. That tradition was carried all the way through their top line of Nikon cameras until the introduction of the Nikon D1 (digital) cameras decades later.
The Eyemo is a 35 mm motion picture film camera which was manufactured by the Bell & Howell Co. of Chicago.
Konvas is the general name of portable 35mm motion-picture cameras that was manufactured in the USSR by KMZ, known as ZENIT camera makers, and later on, MOSKINAP (MOSKOVSKIY ZAVOD KINOAPPARATURIY – Moscow Works of Cinema Equipment, at one time in the late 80's had over 2,000 employees; now OAO "MOSKINAP", and for a short period at the same factory after the collapse of the Soviet Union. The factory was manufacturing Laser soundheads, and 35mm sound projectors originally were made by Odessa PO KINAP some time ago. The camera line is no longer made, although many working models are still circulating at reasonable prices worldwide. The name "Konvas" is a portmanteau that comes from the first three letters of the last and first name of the camera's designer, KONSTANTINOV VASILY.
Contax began as a camera model in the Zeiss Ikon line in 1932, and later became a brand name. The early cameras were among the finest in the world, typically featuring high quality Zeiss interchangeable lenses. The final products under the Contax name were a line of 35 mm, medium format, and digital cameras engineered and manufactured by Japanese multinational Kyocera, and featuring modern Zeiss optics. In 2005, Kyocera announced that it would no longer produce Contax cameras. The rights to the brand are currently part of Carl Zeiss AG, but no Contax cameras are currently in production, and the brand is considered dormant.
The Nikon F3 was Nikon's third professional single-lens reflex camera body, preceded by the F and F2. Introduced in 1980, it had manual and semi-automatic exposure control whereby the camera would select the correct shutter speed. The Nikon F3 series cameras had the most model variations of any Nikon F camera. It was also the first of numerous Nikon F-series cameras to be styled by Italian designer Giorgetto Giugiaro, and to include a red stripe on the handgrip – a feature that would later become a signature feature of many Nikon cameras.
The Arri Group is a German manufacturer of motion picture film equipment. Based in Munich, the company was founded in 1917. It produces professional motion picture cameras, lenses, lighting and post-production equipment. Hermann Simon mentioned this company in his book Hidden Champions of the 21st Century as an example of a "hidden champion". The Arri Alexa camera system was used to film Academy Award winners for Best Cinematography including Hugo, Life of Pi, Gravity, Birdman, The Revenant and 1917.
The Canon FT QL is a 35mm single-lens reflex camera introduced by Canon Inc. in March 1966. It has a Canon FL lens mount compatible with the large range of FL series lenses. The FT can also operate the later Canon FD series lenses in stop-down mode, but the earlier R series has a different lens aperture mechanism and cannot be used, although the bayonet fitting is similar. The standard kit lenses were Canon's 50mm f/1.8 ; 50mm f/1.4 and 58mm f/1.2, the body-only option was offered later.
The Arriflex 435 is a movie camera product line created by Arri in 1995 to replace the Arriflex 35III line. The number reflects its position as a successor camera to the Arri III and the fact that it is designed for 35 mm film. The 435 cameras are specifically designed as MOS cameras, which means that they are conventionally considered to be too loud to record usable location sound. However, this also frees the camera up to be optimized for non-sync sound uses, particularly any filming which either doesn't require sound or shooting at non-sync speed, shooting in reverse, or ramping between different speeds. As such, its potential applications are widespread, and thus it is regularly used on music videos, commercials, second unit work on features, special effects work, and motion control, among other usage. Rival Panavision even owns more 435s for rental than Arri's own hire houses; Panavisions, however, can be converted to Pan-Arri 435s where they are modified to accept Panavision lenses and accessories. In recognition of the achievements of the 435 system, AMPAS awarded Arri a Scientific and Engineering Academy Award in 1999.
This article summarized the comparison of movie cameras.
The Arriflex 16SR is a motion picture camera product line created by Arri, introduced in 1975. This 16SR camera series is designed for 16 mm filmmaking in Standard 16 format. 'SR' Stands for Silent Reflex.
Arriflex 416 is a motion picture camera product line created by Arri in 2006. This camera line was introduced in large part to accommodate new lenses of larger diameter that physically interfered with the Arri 16 SR3 viewfinder. The 416 camera series is designed for 16mm filmmaking in the Super 16 format. The 416 series has some features that are derived from Arri's 35mm cameras. The 416 series is compatible with some 35mm camera accessories, such as PL-mount lenses, base plates, matte boxes, follow focus units, and more.
The Kodak Retina Reflex is a discontinued series of four single-lens reflex cameras made by Kodak, continuing the brand Kodak Retina.
The Kodak Cine Special 16mm Cameras (CKS) are a family of precision, versatile, spring-wound 16mm silent movie cameras produced by Eastman Kodak from the 1930s to the 1960s, and intended for advanced consumers and industry professionals. While its rectangular format was typical of earlier Kodak 16 mm cameras, the CKS 'box' was formed by two joined sections: the spring motor half with the user controls, winding cranks, and gear work to the shutter. The other half was a film magazine which docked to the motor. This allowed the cinematographer to pre-load multiple magazines of film for quick interchange of film.
The Arriflex 16ST, also Arriflex 16S, is a 16mm MOS production motion picture camera released in 1952 by ARRI. The camera utilizes a voltage of 8.4 volts DC
The Arriflex 235 is a lightweight 35mm MOS movie camera released in 2003 by ARRI.
The Arriflex 16BL is ARRI's first silent 16mm production motion picture camera, released in 1965.
The Arriflex 35BL is a 35mm motion picture camera released by ARRI in 1972.
The Arriflex 765 is a 65 mm movie camera created by Arri in 1989.
The Leicaflex series of high-end single-lens reflex 35 mm format film cameras were introduced by Leitz Camera in 1964. The first camera body was paired with the new R bayonet series of lenses. Three model of the cameras were sold by Leitz; the Leicaflex Standard, the Leicaflex SL and the Leicaflex SL2.