ARRI 65mm large-format film camera. Holds 305m magazine (9 min at 24fps), weighs 8.9kg, operates at 12–32fps with variable shutter.
Technical Details
The camera operates with frame rates from 12 to 30 fps for forward motion and 12 to 32 fps for reverse motion. The magazine holds up to 1000 feet (305 m) of 65mm film, which equates to approximately 9 minutes of runtime at 24 fps. The ARRI 765 weighs 8.9 kg without the magazine and measures 385 × 185 × 200 mm. It features ARRI's proven PL Mount system and is compatible with special large-format lenses. The mechanical shutter operates with a variable aperture from 11.2° to 356.8°. The camera uses a 24V power supply and consumes an average of 85 watts.
History & Development
ARRI developed the 765 in response to the growing demand for large-format capture, following Christopher Nolan's successful experiments with modified 65mm cameras. The camera was first presented at NAB 2017 and entered series production in 2018. It is based on ARRI's decades of experience with 35mm film cameras but was completely re-engineered for the 65mm format. A revised version with improved electronics and optimized film transport followed in 2019.
Practical Use in Film
The ARRI 765 was used in productions such as "Tenet" (2020), "Dune" (2021), and "Top Gun: Maverick" (2022). The workflow requires specialized labs for 65mm development and digitization, typically using 8K scanners. The large sensor area enables extreme depth-of-field effects and exceptional detail resolution. Disadvantages include high film consumption, equipment weight, and limited lens availability. The camera is particularly suitable for IMAX and large-screen formats.
Comparison & Alternatives
Unlike the classic 65mm Panavision camera, the ARRI 765 offers modern electronic features and more precise film guidance. Digital alternatives include the ARRI ALEXA 65 or RED MONSTRO 8K VV, which offer similar sensor sizes but lack the characteristic film look. The 765 is chosen when maximum image quality for cinema screen projection is required and the budget allows for the complex 65mm pipeline. For standard productions, 35mm or digital remains the more practical solution.