Moviecam SL

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35mm camera from 1997, weighs 4.7 kg. Built for tight spaces and mobile work: handheld, Steadicam, helicopters. The smallest full-spec studio camera of that era.

What is the Moviecam SL?

The Moviecam SL (1997) – "SL" stands for Super Lightweight – was Moviecam's lightest and last 35mm camera before the ARRI acquisition. Weighing only 4.7 kg for the body, it was the most compact professional 35mm camera of its time, setting new standards for mobile film production.

Technical Specifications

Feature	Value
Format	35mm (4-perf / 3-perf)
Weight (Body)	4.7 kg
Frame Rate	4–50 fps
Shutter	11.2°–180°
Noise	<20 dBA
Mount	PL Mount
Magazines	120m / 300m

Key Features

4.7 kg – Lightest 35mm camera of its era
<20 dBA – Suitable for sound recording
3-Perf Option – Potential film stock savings
50 fps – Moderate slow motion capability
PL Mount – Full lens compatibility
Compact – Optimized for Steadicam and handheld

The Weight Evolution at Moviecam

Model	Year	Weight	Improvement
Moviecam 35	1980	7.5 kg	Base
Compact	1988	5.0 kg	-33%
SuperAmerica	1992	5.7 kg	Studio quality
SL	1997	4.7 kg	-37% vs. Base

Moviecam SL vs. Competition (1997)

Camera	Weight	Noise
Moviecam SL	4.7 kg	<20 dBA
Moviecam Compact	5.0 kg	<21 dBA
ARRI 435	5.4 kg	<20 dBA
ARRI 535B	7.5 kg	<19 dBA
Panavision Panastar	4.5 kg	<22 dBA

Position: The SL was the lightest *quiet* 35mm camera.

Notable Films

Film	Year	DP	Usage
Titanic	1997	Russell Carpenter, ASC	Camera movement
Dark City	1998	Dariusz Wolski, ASC	Steadicam
Fight Club	1999	Jeff Cronenweth, ASC	Handheld
The Talented Mr. Ripley	1999	John Seale, ASC	Camera movement

Steadicam Perfection

The SL was designed for maximum mobility:

Weight Comparison (complete with 120m magazine)

Setup	SL	ARRICAM LT (2000)
Body	4.7 kg	4.5 kg
+ Magazine	5.8 kg	5.6 kg
+ Lens	7.0 kg	6.8 kg
+ Accessories	8.0 kg	7.8 kg

Conclusion: The SL led in 1997; the ARRICAM LT (2000) took the crown.

Steadicam Advantages

Minimal fatigue
Longer takes possible
Better balance
More creative freedom

The Moviecam System

The SL was the lightest link in the system:

Model	Role	Weight	Strength
SL	Ultra-mobility	4.7 kg	Weight
Compact	Mobility	5.0 kg	Balance
SuperAmerica	Studio	5.7 kg	Quietness

Common Components

Magazines (120m, 300m)
Viewfinder
Video Assist
Follow Focus Systems

Typical Configurations

Steadicam Minimal

SL Body
120m Magazine
Compact Prime (25mm)
Wireless Video
Weight: ~7 kg complete

Handheld

SL Body
120m Magazine
Handgrips
Shoulder Pad
Weight: ~7.5 kg complete

Crane/Remote

SL Body
300m Magazine
Remote Head
Wireless everything
Weight: ~9 kg complete

The ARRI Acquisition and the End

Timeline

Year	Event
1997	SL Market Introduction
2000	ARRICAM LT Released (4.5 kg)
2003	ARRI Acquires Moviecam
2003	SL Production Halted

ARRICAM LT as Successor

The ARRICAM LT (2000) adopted the SL philosophy:

Feature	SL	ARRICAM LT
Weight	4.7 kg	4.5 kg
Noise	<20 dBA	<20 dBA
LDS	No	Yes
Modularity	Good	Excellent

Why the SL Was Important

Technically

Proved 35mm quality was possible under 5 kg
Set new benchmarks for compactness
Drove innovation at ARRI

For the Industry

Expanded creative possibilities
Made camera movement more accessible
Inspired ARRICAM LT development

For Cinematographers

Reduced physical strain
Enabled longer working days
Increased on-set spontaneity

Today

The Moviecam SL is no longer produced, but:

Collectors – Rare and sought after
Specialty Rentals – Hardly available anymore
Historical Value – Last Moviecam innovation
Service – Very limited via ARRI

Aspect	Details
Used Price	€12,000–€22,000
Availability	Extremely limited
Service	Very limited
Spare Parts	Hardly available

From the crafts

Perspectives

Cinematographer

Die SL war Moviecams ultimative Antwort auf die Steadicam-Frage – 4,7 kg für eine vollwertige 35mm-Kamera. Sie war noch leichter als die ARRICAM LT, die später kam. Für mich war sie die beste Bewegungskamera vor der digitalen Ära.

Director

Die SL ermöglichte Takes, die vorher undenkbar waren. Mein Operator konnte stundenlang arbeiten, ohne zu ermüden. Das änderte, wie ich Szenen planen konnte – mehr Freiheit, mehr Spontanität.

Producer

Die SL war oft günstiger im Verleih als vergleichbare ARRI-Modelle und bot exzellente Qualität. Für Produktionen mit viel Bewegung war sie die wirtschaftlichste Wahl – bis ARRI sie kaufte.