Classic range of professional 35mm film cameras representing industry standard equipment used in feature film production.
Technical Details
The Arriflex 35 (1937) was the first 35mm reflex camera with a 45° mirror in the shutter sector, utilizing 50% of the exposure time for viewfinder viewing. The shutter operates with a variable aperture from 11.2° to 180°. The Arriflex 16ST (1952) weighed 6.8 kg and allowed for shooting at 8-64 frames per second. Later models like the Arriflex 35BL (1972) integrated Barney sound dampening for sync sound recording and achieved noise levels below 32 dB. The cameras use bayonet lens mounts (ARRI standard or ARRI-PL) and support film magazines from 122m to 304m.
History & Development
August Arnold and Robert Richter developed the first Arriflex 35 in 1937 as a response to the unwieldy studio cameras of the 1930s. The Wehrmacht extensively used Arriflex cameras for war documentation. In 1952, the 16mm version Arriflex 16 followed, and in 1965, the quiet 16BL for sync sound. The Arriflex 35IIC (1963) became the standard camera for documentaries and the New German Cinema. In 1975, the Arriflex 16SR with a crystal motor and time sync was released. The last purely film camera in the series, the Arriflex 416 (1999), marked ARRI's transition to digital technology.
Practical Use in Film
Arriflex cameras shaped the aesthetic of Cinéma Vérité and the Nouvelle Vague. Jean-Luc Godard shot "Breathless" (1960) with an Arriflex 16, and Werner Herzog used the 16BL for "Aguirre, the Wrath of God" (1972). Their compact design enabled handheld shooting and spontaneous camera work. Documentary filmmakers like the Maysles brothers relied on the 16BL for Direct Cinema. The PL-mount compatibility of later models ensured seamless integration of professional optics from Zeiss, Cooke, and Angenieux. Sync sound recording required the BL versions, while the standard models were optimized for MOS (Motor Only Sync) shooting.
Comparison & Alternatives
Competitor products like the Éclair NPR or Bolex H16 offered similar portability but did not achieve the mechanical precision of the Arriflex series. While Panavision cameras dominated larger studio productions, Arriflex established itself in the documentary and independent film sectors. Modern successors include ARRI's digital Alexa series and the Super-16 camera Arriflex 416 Plus. The Alexa adopts the operating concept and PL compatibility but replaces film with digital sensors. For authentic film aesthetics, cinematographers continue to use restored Arriflex cameras, especially for projects with a retro aesthetic.