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.
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.
| 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 |
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 |
Flicker-free slow motion:
Reduced motion blur:
| 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 |
| 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.
| Type | Capacity | Run Time @ 24fps |
|---|---|---|
| Standard | 120m (400ft) | 4 min |
| Long | 300m (1000ft) | 11 min |
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 |
The ARRI 3 is no longer produced (discontinued in 2002), but:
Die ARRI 3 war meine Go-To für MOS-Arbeit in den 80ern und 90ern. Variabler Verschluss für saubere Zeitlupen, schneller Filmwechsel, und leicht genug für echte Schulterkamera. Für Car-Mounts und Crashcams ist sie bis heute erste Wahl.
Die 3 bedeutet Flexibilität – mein DP kann sie überall hinbringen, wo die BL zu schwer oder zu empfindlich wäre. Für Action-Sequenzen, Stunt-Arbeit und gefährliche Locations ist sie unersetzlich.
Eine ARRI 3 kostet gebraucht etwa 2.000-5.000 Euro – weniger als eine Woche Alexa-Miete. Für Spezial-Rigs, Crashcams und MOS-B-Kameras immer noch wirtschaftlich sinnvoll.
1. Was beschreibt „ARRI 3" am besten?
2. Zu welchem Department gehört „ARRI 3"?
3. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
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