ARRI's legendary 35mm studio camera (1964), the workhorse of classic Hollywood. Compact, rugged, and reliable — the 2C shot hundreds of classics from Lawrence of Arabia to Apocalypse Now.
What is the ARRI 2C?
The ARRI 2C (1964) is a 35mm film camera that, as a further development of the legendary Arriflex series, became the standard tool of professional filmmaking. With its compact design, robust steel housing, and precise reflex viewfinder, it established itself as the most versatile 35mm camera of its era – equally usable on shoulders, tripods, dollies, and in blimps.
Technical Specifications
| Feature | Value |
|---|---|
| Format | 35mm (Academy 4-perf) |
| Weight (Body) | 4.8 kg |
| Dimensions | 280 × 175 × 220 mm |
| Frame Rate | 5–50 fps |
| Shutter | 180° Reflex |
| Noise Level | ~35 dBA (without blimp) |
| Mount | ARRI Standard (later ARRI Bayonet) |
| Magazine | 120m / 300m |
| Run Time | 4 Min / 11 Min @ 24 fps |
Key Features
- Reflex Viewfinder – Direct view through the taking lens
- Modular Design – Interchangeable magazines, motors, viewfinders
- Robust Construction – Steel housing, low maintenance
- Compact – Shoulder work possible (with handgrip)
- Standard Mount – Wide lens selection
- Precise Registration – Ideal for VFX and rear projection
The Arriflex Evolution
| Model | Year | Improvement |
|---|---|---|
| Arriflex 35 | 1937 | First reflex film camera |
| Arriflex II | 1946 | Improved mechanics |
| Arriflex IIA | 1953 | Optimized viewfinder |
| Arriflex IIB | 1960 | Variable shutter angles |
| ARRI 2C | 1964 | Modernized design |
Notable Films
| Film | Year | DP | Usage |
|---|---|---|---|
| Lawrence of Arabia | 1962 | Freddie Young, BSC | 2nd Unit |
| 2001: A Space Odyssey | 1968 | Geoffrey Unsworth, BSC | Handheld sequences |
| The Godfather | 1972 | Gordon Willis, ASC | Primary camera |
| Apocalypse Now | 1979 | Vittorio Storaro, ASC | Jungle sequences |
| Raging Bull | 1980 | Michael Chapman, ASC | Ring scenes |
| The Shining | 1980 | John Alcott, BSC | Steadicam (adapted) |
| Blade Runner | 1982 | Jordan Cronenweth, ASC | Alongside BL |
2C vs. Mitchell BNC
The 2C directly competed with the American Mitchell BNC:
| Feature | ARRI 2C | Mitchell BNC |
|---|---|---|
| Weight | 4.8 kg | 45 kg (with blimp) |
| Viewfinder | Reflex | Parallax-corrected |
| Mobility | Very good | Tripod-bound |
| Noise | 35 dBA | 18 dBA (blimped) |
| Popular for | Moving shots | Studio dialogue |
| Price (then) | ~$8,000 | ~$25,000 |
Conclusion: The 2C was more mobile and affordable, the Mitchell quieter and more precise for studio dialogue.
Working with the 2C
Typical Configurations
Handheld:
- Body + 120m magazine + handgrip
- Weight: approx. 6.5 kg
- For: MOS shots, B-roll, documentary
Studio (blimped):
- Body in blimp + 300m magazine
- Noise: <22 dBA
- For: Dialogue scenes with synchronized sound
Dolly/Tripod:
- Body + 300m magazine + matte box
- For: Standard feature film shooting
Lens Compatibility
| Mount | Lenses |
|---|---|
| ARRI Standard | Zeiss Standard Speed, Cooke Speed Panchro |
| ARRI Bayonet | Zeiss Super Speed, ARRI/Zeiss |
| Adapter | Nikon, Canon FD, Leica R |
The Blimp Problem
The 2C was too loud for dialogue scenes without a blimp (~35 dBA). Solutions:
Barney (Sound Cover)
- Fabric cover around the camera
- Reduces to ~28 dBA
- Limitation: Risk of overheating
Blimp (Soundproof Housing)
- Complete metal housing
- Reduces to ~18 dBA
- Limitation: Doubles weight, not a shoulder camera
ARRI BL (1972)
- Self-blimped version
- <22 dBA without accessories
- Solution: The 2C for MOS, the BL for sound
Why the 2C is Legendary
Reliability
- Simple, robust mechanics
- Few moving parts
- Works under extreme conditions
- ARRI service worldwide
Versatility
- Handheld, dolly, Steadicam, underwater (housing)
- Slow motion up to 50 fps
- Reverse running for VFX
- All common lenses
Image Quality
- Excellent registration
- No vibrations
- Even exposure
- Perfect for optical effects
Today
The ARRI 2C is no longer produced (discontinued approx. 1990), but:
- Collectors pay €3,000–€8,000 for well-maintained units
- Special effects use it for precise rear projection
- Film enthusiasts appreciate the classic look
- Spare parts still partially available from ARRI
- Service possible through specialized workshops