ARRI 35mm studio camera with swappable magazines and viewfinders for quick reconfiguration between takes. Operates below 18 dBA—silent enough for direct sound recording without interference.
The ARRICAM ST (2000) – "ST" stands for Studio/Theatre – is ARRI's quietest 35mm film camera and part of the revolutionary ARRICAM system. With an operating noise of under 18 dBA, a fully modular design, and digital integration, it became the gold standard for premium feature film productions in the final era of analog film.
| Feature | ARRICAM ST |
|---|---|
| Noise | <18 dBA |
| Weight (Body) | 7.0 kg |
| Frame Rate | 1–60 fps |
| Shutter | 11.2°–180° |
| Registration | ±0.0025mm |
| Mount | PL (LDS) |
| Format | 4-perf / 3-perf |
The ARRICAM system consists of two bodies with interchangeable components:
| Component | ST | LT |
|---|---|---|
| Body | Studio | Lite |
| Magazines | Shared | Shared |
| Viewfinder | Shared | Shared |
| Motors | Shared | Shared |
| Accessories | Shared | Shared |
Advantage: One set of magazines, viewfinder, and accessories works with both cameras.
| Feature | ST (Studio) | LT (Lite) |
|---|---|---|
| Noise | <18 dBA | <20 dBA |
| Weight | 7.0 kg | 4.5 kg |
| Max fps | 60 | 60 |
| Strength | Quietest | Lightest |
| Usage | Dialogue, Studio | Steadicam, Handheld |
Typical Workflow: ST for dialogue, LT for movement – same magazines and accessories.
| Film | Year | DP | Usage |
|---|---|---|---|
| The Aviator | 2004 | Robert Richardson, ASC | Primary Camera |
| Batman Begins | 2005 | Wally Pfister, ASC | Dialogue/Studio |
| The Departed | 2006 | Michael Ballhaus, ASC | Dialogue Scenes |
| No Country for Old Men | 2007 | Roger Deakins, ASC | Primary Camera |
| There Will Be Blood | 2007 | Robert Elswit, ASC | Primary Camera |
| The Dark Knight | 2008 | Wally Pfister, ASC | Beside IMAX |
| Inglourious Basterds | 2009 | Robert Richardson, ASC | Primary Camera |
| Inception | 2010 | Wally Pfister, ASC | Dialogue/Studio |
| The Artist | 2011 | Guillaume Schiffman, AFC | Entire Film |
The ARRICAM introduced the Lens Data System:
| Camera | Noise |
|---|---|
| ARRICAM ST | <18 dBA |
| ARRI 535B | <19 dBA |
| Panavision Millennium | <20 dBA |
| ARRICAM LT | <20 dBA |
| ARRI BL-4 | <19 dBA |
Context:
| Type | Capacity | Run Time @ 24fps |
|---|---|---|
| 120m | 400 ft | 4 Min |
| 300m | 1000 ft | 11 Min |
| 600m | 2000 ft | 22 Min |
The ARRICAM was ARRI's last major film system:
| Year | Event |
|---|---|
| 2000 | ARRICAM Introduction |
| 2005 | D-20 Digital Prototype |
| 2010 | ARRI Alexa Launch |
| 2012 | ARRICAM Production Ceased |
| Today | Film Revival Brings Demand Back |
The ARRICAM ST is no longer in production, but:
| Aspect | Details |
|---|---|
| Used Price | €30,000–€50,000 |
| Rental/Day | €900–€1,200 |
| Availability | Specialized Rental Houses |
| Service | ARRI Worldwide |
Die ARRICAM ST ist das Nonplusultra für Studiodialoge. Unter 18 dBA – ich höre sie selbst mit gespitzten Ohren nicht. Der Sucher ist der beste, den ich je benutzt habe, und das modulare System lässt sich perfekt an jede Situation anpassen.
Mit der ARRICAM ST vergesse ich, dass überhaupt eine Kamera läuft. Meine Schauspieler können flüstern, seufzen, jede Nuance wird eingefangen. Für intime Dialoge auf Film gibt es einfach nichts Besseres.
Eine ARRICAM ST kostet etwa 900-1.200 Euro pro Drehtag – Premium-Pricing, aber für Premium-Produktionen unverzichtbar. Die Kombination mit der LT gibt uns maximale Flexibilität bei konsistentem Look.
1. Was beschreibt „ARRICAM ST" am besten?
2. Zu welchem Department gehört „ARRICAM ST"?
3. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
The Lexikon is part of the Filmfarm ecosystem — alongside budgeting (FilmBalance), an industry magazine (FilmCircus) and crew networking (FilmCall, CrewMesh). One shared vocabulary for the whole production.