Compact 35mm film camera from 1979, successor to the 2C with improved mechanics and variable shutter, last non-self-blimped ARRI film camera before digital.
What is the ARRI 3?
The ARRI 3 (1979) is a 35mm film camera developed as a modernized version of the legendary 2C. With a variable shutter, improved mechanics, and a new ARRI Bayonet mount, it became the preferred camera for MOS shots, special effects, and extreme operating conditions – anywhere synchronous sound was not required.
Technical Specifications
| Feature | ARRI 3 | ARRI 2C (Comparison) |
|---|---|---|
| Format | 35mm (4-perf) | 35mm (4-perf) |
| Weight (Body) | 5.0 kg | 4.8 kg |
| Frame Rate | 5–60 fps | 5–50 fps |
| Shutter | 11°–180° variable | 180° fixed |
| Noise Level | ~32 dBA | ~35 dBA |
| Mount | ARRI Bayonet | ARRI Standard |
| Magazine | 120m / 300m | 120m / 300m |
Key Features
- Variable Shutter – 11° to 180° in 1° increments
- ARRI Bayonet Mount – Faster lens changes
- 60 fps – Higher slow-motion capability
- Improved Registration – More precise than 2C
- More Modern Electronics – Crystal-sync option
- Compact – True shoulder-camera capability
Variable Shutter
The variable shutter was the main innovation of the ARRI 3:
| Shutter Angle | Exposure | Usage |
|---|---|---|
| 180° | 1/48s @ 24fps | Standard |
| 144° | 1/60s @ 24fps | Slight sharpness |
| 90° | 1/96s @ 24fps | Action, reduced motion blur |
| 45° | 1/192s @ 24fps | Extreme sharpness, slow-motion base |
| 11° | 1/785s @ 24fps | Special effects |
Practical Applications
Flicker-free slow motion:
- Under artificial light: Shutter set to 144° for 50Hz sync
- Enables clean slow-motion under HMI lighting
Reduced motion blur:
- 90° for action sequences
- Sharper individual frames for VFX compositing
Notable Films
| Film | Year | DP | Usage |
|---|---|---|---|
| Indiana Jones (Trilogy) | 1981–89 | Douglas Slocombe, BSC | Action sequences |
| Die Hard | 1988 | Jan de Bont, ASC | Stunt shots |
| Terminator 2 | 1991 | Adam Greenberg, ASC | Crash cameras |
| Jurassic Park | 1993 | Dean Cundey, ASC | MOS B-camera |
| The Matrix | 1999 | Bill Pope, ASC | Bullet-time setup |
| Gladiator | 2000 | John Mathieson, BSC | Battle sequences |
| Mad Max: Fury Road | 2015 | John Seale, ASC | Crash cameras |
ARRI 3 vs. ARRI BL
| Feature | ARRI 3 | ARRI BL |
|---|---|---|
| Primary Use | MOS, Action | Synchronous sound |
| Noise Level | ~32 dBA | <22 dBA |
| Weight | 5.0 kg | 7.5 kg |
| Mobility | Excellent | Good |
| Robustness | Very high | High |
| Price (used) | €2,000–€5,000 | €4,000–€8,000 |
Conclusion: The 3 for MOS and action, the BL for dialogue – often used as a pair.
Typical Use Cases
Action & Stunts
- Light enough for car mounts
- Robust enough for crash cams
- Fast magazine changes
Visual Effects
- Precise registration for compositing
- Variable shutter for motion control
- Reverse running possible
Second Unit
- More compact than BL setup
- Quick to deploy
- Less crew required
Special Rigs
- Underwater housings
- Aircraft mounts
- Remote-controlled setups
Accessories
Magazines
| Type | Capacity | Run Time @ 24fps |
|---|---|---|
| Standard | 120m (400ft) | 4 min |
| Long | 300m (1000ft) | 11 min |
Options
- Wireless Video Assist
- Wireless Follow Focus
- Matte Box (LMB-5, LMB-25)
- Anamorphic viewfinder
- High-speed motor (up to 75 fps)
The 3C Variant
The ARRI 3C was a modernized version:
| Feature | ARRI 3 | ARRI 3C |
|---|---|---|
| Electronics | Analog | Digital |
| Frame Rate Display | Mechanical | LCD |
| Sync | Crystal optional | Crystal standard |
| Shutter Display | Mechanical | Electronic |
Today
The ARRI 3 is no longer produced (discontinued in 2002), but:
- Crash Cameras – Still preferred for destructible rigs
- Film Revival – Demand driven by the 35mm renaissance
- Spare Parts – Available from ARRI and third parties
- Collectors – Well-maintained units are increasing in value
- Film Schools – Valued as robust learning cameras