ARRI 35mm camera with crystal-controlled motor (3–40 fps), compact design for documentary and independent production, built on SR mechanics.
Technical Details
The Arriflex 235 operates with a crystal-controlled motor, enabling recording speeds from 3 to 40 frames per second. The camera system uses 120m or 300m magazines and features a rotating mirror shutter with a 180° aperture angle (optional 144° or 172.8°). The camera accepts all standard 35mm lenses with PL mount and offers optical and video tap viewfinders. The integrated timecode generator synchronizes precisely with external devices. Variants included the standard 235 and the slightly modified 235-H for special handheld applications.
History & Development
ARRI developed the 235 in response to the growing demand for more compact 35mm cameras for documentary and independent productions. The camera was based on the proven mechanics of the 16mm Arriflex SR series, scaled to 35mm format. Production ended in 2010, as digital cameras increasingly displaced 35mm film. The 235 marked ARRI's last attempt to offer a cost-effective 35mm camera for smaller productions.
Practical Use in Film
The Arriflex 235 was primarily used in documentary productions, independent films, and as a B-camera in larger feature film productions. Documentarians appreciated its compact size for long handheld sequences. The typical workflow involved 16:9 Super 35mm recordings with subsequent telecine transfer or direct film scanning. Disadvantages included a limited lens selection compared to more professional models and the lack of a precise frameline system for different aspect ratios.
Comparison & Alternatives
Compared to the Arriflex 435, the 235 was significantly more compact but less versatile in lens choice and accessory configuration. Competitors included cameras like the Aaton 35-III or Panavision Millennium XL2. As digital successors, ARRI later positioned the Alexa Mini, which offers similar compactness with significantly expanded capabilities. Today, 35mm productions are primarily realized with the Arriflex 435 or special vintage cameras, while the 235's niche has been completely taken over by digital systems.