ARRI BL

arri 2c arri 3 arri 435 arri arriflex

35mm film camera from 1972. Built-in sound insulation keeps camera noise below 22 dB — direct sound recording without external blimp. Standard for sync sound on set.

What is the ARRI BL?

The ARRI BL (1972) – "BL" stands for Blimp-Less – was ARRI's first self-blimped 35mm camera. With an operating noise of less than 22 dBA, it could record sync sound without being enclosed in an external sound-dampening housing (blimp). This innovation revolutionized feature film production and became the standard for dialogue recording worldwide.

Technical Specifications

Feature	BL-1 (1972)	BL-2 (1976)	BL-3 (1981)	BL-4/4s (1984)
Noise Level	<22 dBA	<21 dBA	<20 dBA	<19 dBA
Weight	7.5 kg	7.3 kg	6.8 kg	6.5 kg
Frame Rate	4–32 fps	4–36 fps	4–40 fps	4–50 fps
Shutter	180°	180°	11°–180°	11°–180°
Mount	ARRI Bayonet	ARRI Bayonet	PL	PL

Key Features

Self-Blimped – Integrated sound dampening
<22 dBA – Quieter than ambient set noise
Video Assist – Optional video tap for monitoring
PL Mount (from BL-3) – Standard for modern lenses
Variable Shutter (from BL-3) – 11° to 180°
ARRI Code – Timecode for synchronization

The Evolution of the BL Series

BL-1 (1972)

First generation
Proved the concept
Still relatively heavy

BL-2 (1976)

Improved sound dampening
Lighter construction
Better viewfinder

BL-3 (1981)

PL Mount introduced – Industry standard
Variable shutter
Higher frame rates
Improved magazine system

BL-4/BL-4s (1984)

Quietest version (<19 dBA)
Best ergonomics
Crystal-Sync standard
"s" = Super Speed variant (up to 60 fps)

Notable Films

Film	Year	DP	Significance
The Godfather Part II	1974	Gordon Willis, ASC	Early BL usage
Jaws	1975	Bill Butler, ASC	On-location shooting without blimps
Star Wars	1977	Gilbert Taylor, BSC	Studio dialogue recording
Apocalypse Now	1979	Vittorio Storaro, ASC	Jungle shooting
E.T.	1982	Allen Daviau, ASC	Intimate dialogue scenes
Schindler's List	1993	Janusz Kamiński, ASC	Documentary style
The English Patient	1996	John Seale, ASC	Desert locations

Why "Blimp-Less" Was Revolutionary

Before the BL: The Blimp Problem

Traditional Workflow:

Mount 2C or 3C in external blimp
Seal blimp (5-10 minutes)
Shoot
Open blimp for magazine change
Repeat

Problems:

Enormous weight (2C + blimp = 20+ kg)
Limited mobility
Overheating during long takes
Time loss with every film change
Expensive, bulky equipment

After the BL: The New Standard

New Workflow:

Set up BL (like any camera)
Shoot (quiet enough for sound)
Change magazine (2 minutes)
Continue shooting

Advantages:

Handholdable (with shoulder rig)
Fast setups
Greater freedom of movement
Less equipment transport
More economical operation

BL vs. Panavision

The BL competed directly with Panavision cameras:

Feature	ARRI BL-4	Panaflex Gold
Noise Level	<19 dBA	<20 dBA
Weight	6.5 kg	8.2 kg
Mount	PL (Purchase)	PV (Rental only)
Availability	Worldwide	Panavision rental
Lens Selection	ARRI, Zeiss, Cooke	Panavision exclusive

Conclusion: The BL was more flexible due to the PL mount and purchase option; Panavision had exclusive optics.

The PL Mount Standard

The BL-3 (1981) introduced the Positive Lock (PL) Mount:

Feature	ARRI Standard	ARRI Bayonet	PL Mount
Flange Focal Distance	52mm	48mm	52mm
Locking Mechanism	Screw	Bayonet	Positive Lock
Change Time	30 sec	5 sec	3 sec
Security	Good	Good	Excellent

The PL mount became the industry standard and is still used today on ARRI Alexa, RED, Sony VENICE, and virtually all professional cameras.

Typical Configurations

Dialogue Setup

BL-4 body
300m magazine (11 min)
Zeiss Super Speed or Master Prime
Video Assist
Wireless Follow Focus
Weight: approx. 12 kg complete

Dolly/Steadicam

BL-4s body
120m magazine (4 min)
Lightweight prime lens
Wireless video
Weight: approx. 9 kg complete

Today

The ARRI BL series is no longer produced (replaced by 435/535), but:

Rental – Specialized providers worldwide
Film Revival – Demand due to the 35mm renaissance
Collectors – BL-4s particularly sought after
Spare Parts – Still available from ARRI
Service – Guaranteed by the ARRI network

Model	Used Price	Condition
BL-1/2	€2,000–€4,000	Collector's item
BL-3	€3,000–€6,000	Ready for use
BL-4/4s	€5,000–€10,000	Production ready

From the crafts

Perspectives

Cinematographer

Die BL war eine Revolution – endlich konnte ich mit einer Arriflex Dialogszenen drehen, ohne im Blimp gefangen zu sein. Das Sucher-Design ist brillant, die Kamera ist leise genug für jeden Set. Für mich war sie der Beginn der modernen Film-Ära.

Director

Mit der BL verschwanden die Kompromisse. Ich konnte improvisieren, Schauspieler spontan reagieren lassen, ohne Blimp-Umbauten abzuwarten. Das hat meinen Regiestil fundamental verändert – mehr Freiheit, mehr Authentizität.

Producer

Die BL hat unsere Workflows revolutioniert. Kein Blimp-Aufbau mehr, schnellere Setups, weniger Equipment-Transport. Eine BL kostet gebraucht 4.000-8.000 Euro und ist immer noch eine professionelle Ton-Kamera.