Cinematographer
Die SuperAmerica war Moviecams Antwort auf die ARRI 535 – genauso leise, aber kompakter und mit eigenem Charakter. Für Studiodialoge und anspruchsvolle Produktionen war sie eine echte Alternative zu ARRI und Panavision.
Moviecam's studio flagship (1992) at under 19 dBA – as quiet as the ARRI 535. Combined the Compact's compactness with studio quality and became the favorite for demanding Hollywood productions.
What is the Moviecam SuperAmerica?
The Moviecam SuperAmerica (1992) was the studio flagship of the Austrian manufacturer Moviecam. With an operating noise level of under 19 dBA – on par with the ARRI 535 – it combined the compact philosophy of the Moviecam Compact with full studio quality and became a favorite of renowned cinematographers like Dante Spinotti and Bill Pope.
Technical Specifications
| Feature | Value |
|---|---|
| Format | 35mm (4-perf / 3-perf) |
| Weight (Body) | 5.7 kg |
| Frame Rate | 3–50 fps |
| Shutter Angle | 11.2°–180° |
| Noise Level | <19 dBA |
| Mount | PL Mount |
| Magazines | 120m / 300m / 600m |
Key Features
- <19 dBA – Whisper quiet for any dialogue
- 5.7 kg – More compact than ARRI 535 (7.5 kg)
- 3-Perf Option – Film savings possible
- 50 fps – Moderate slow motion
- Variable Shutter – Full creative control
- PL Mount – Universal lens compatibility
SuperAmerica vs. ARRI 535B
| Feature | SuperAmerica | ARRI 535B |
|---|---|---|
| Noise Level | <19 dBA | <19 dBA |
| Weight | 5.7 kg | 7.5 kg |
| Max fps | 50 | 60 |
| 3-Perf | Yes | No (535B later only) |
| Image Stability | Excellent | Excellent |
| Rental/Day | ~€500 | ~€600 |
Conclusion: Equivalent silence, significantly lighter, similar features.
Notable Films
| Film | Year | DP | Significance |
|---|---|---|---|
| Interview with the Vampire | 1994 | Philippe Rousselot, ASC | Gothic atmosphere |
| Heat | 1995 | Dante Spinotti, ASC | Michael Mann |
| Casino | 1995 | Robert Richardson, ASC | Scorsese |
| L.A. Confidential | 1997 | Dante Spinotti, ASC | Oscar for Cinematography |
| The Matrix | 1999 | Bill Pope, ASC | Dialogue scenes |
| Any Given Sunday | 1999 | Salvatore Totino, ASC | Oliver Stone |
| Ali | 2001 | Emmanuel Lubezki, AMC | Michael Mann |
Michael Mann and the SuperAmerica
Director Michael Mann became the most prominent SuperAmerica user:
Heat (1995)
- Entire film on SuperAmerica
- Dante Spinotti, ASC
- Bank robbery sequence legendary
The Insider (1999)
- SuperAmerica for dialogue scenes
- Combined with other formats
Ali (2001)
- SuperAmerica as main camera
- Emmanuel Lubezki
Mann's Rationale
"The SuperAmerica gives me the flexibility of a lightweight camera with the silence of a studio camera."
Typical Configurations
Studio Dialogue
- SuperAmerica Body
- 300m Magazine (11 min)
- Zeiss Master Prime
- Video Assist
- Follow Focus
- Weight: ~12 kg complete
Dolly/Crane
- SuperAmerica Body
- 600m Magazine (22 min)
- Zoom or Prime
- Matte Box
- Weight: ~14 kg complete
Moving Camera
- SuperAmerica Body
- 120m Magazine (4 min)
- Lightweight Prime
- Wireless Video
- Weight: ~8 kg complete
3-Perf Option
The SuperAmerica offered early 3-Perf support:
| Format | Image Size | Film Consumption |
|---|---|---|
| 4-Perf | Academy | 100% |
| 3-Perf | Widescreen-optimized | 75% |
Advantages of 3-Perf
- 25% film savings
- Longer run times per magazine
- Native 1.78:1 aspect ratio
Disadvantages
- Not all labs supported 3-Perf
- Scan costs sometimes higher
- Compatibility issues
The Moviecam System
The SuperAmerica was part of a modular system:
| Model | Role | Weight |
|---|---|---|
| Compact | Movement | 5.0 kg |
| SuperAmerica | Studio | 5.7 kg |
| SL | Ultra-light | 4.7 kg |
Advantage: Shared magazines and accessories across all models.
Accessories
Magazines
| Type | Capacity | Run Time @ 24fps |
|---|---|---|
| 120m | 400 ft | 4 min |
| 300m | 1000 ft | 11 min |
| 600m | 2000 ft | 22 min |
Options
- Video Assist (Analog/HD)
- Wireless Follow Focus
- Matte Box System
- Timecode Generator
- Anamorphic Viewfinder
The End
ARRI Acquisition (2003)
- Moviecam acquired by ARRI
- SuperAmerica production ceased
- Technology integrated into ARRICAM
Successor
The ARRICAM ST took over the SuperAmerica's role:
- Even quieter (<18 dBA)
- LDS system
- More modern electronics
Today
The Moviecam SuperAmerica is no longer produced, but:
- Collectors – Particularly sought after by Mann fans
- Specialty Rentals – Still available from some providers
- Film Revival – Interest in authentic 90s look
- Service – Limited availability through ARRI network
| Aspect | Details |
|---|---|
| Used Price | €10,000–€20,000 |
| Availability | Very limited |
| Service | ARRI (limited) |
| Spare Parts | Very limited |
From the crafts
Perspectives
Director
Die SuperAmerica gab mir Optionen. Statt automatisch ARRI zu bestellen, konnte ich abwägen – und oft war die Moviecam die richtige Wahl. 'Heat', 'L.A. Confidential', 'The Matrix' – alles SuperAmerica.
Producer
Die SuperAmerica bot Premium-Qualität zu oft günstigeren Konditionen als ARRI oder Panavision. Für High-End-Produktionen mit Budget-Bewusstsein war sie perfekt – Michael Mann schwörte darauf.
More in the lexikon
Related terms
Manufacturers
Moviecam
Austrian camera maker (1975–2003). Built compact 35mm cameras with minimal barrel length…
Camera · Kameras
Moviecam Compact
Camera · Kameras
ARRI 535
Camera · Kameras
ARRICAM ST
Camera · Equipment
Panavision
US manufacturer of professional cameras and lenses — rents exclusively to film…
Test your knowledge
Quiz
1. Was beschreibt „Moviecam SuperAmerica" am besten?
2. Zu welchem Department gehört „Moviecam SuperAmerica"?
3. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?