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Arricam
Variant models
Studio (ST), Lite (LT)
Manufacturer
Arri
Introduced
2000 (ST and LT)
Gauge
35 mm
Weight
ST 8.15 kg/17.95 lbs (body with finder); LT 4 kg/8.8 lbs (body), 5.25 kg/11.56 (body with finder)
Movement
Five link with dual registration pins and pulldown claws, 3 or 4-perf pulldown, pitch adjustment
Speed
ST 1–60 frames per second (forward) and 1–32 frames per second (reverse) LT 1–40 frames per second (forward) and 1–32 frames per second (reverse – ST mags needed). Both models crystal accurate to 0.001 frame/s.
Aperture size
.980" x .735"
Aperture plate
removable, includes gel holder
Motor
DC with quartz crystal control, separate electronically linked motors for shutter and movement
Operating noise level
ST <20 dB LT <24 dB at 4-perf.
Indicators
speed, run, counter (ft or m), shutter angle, time code (user bit and sensitivity level), voltage, incorrect movement, asynchronous speed, low battery, film end, heater, film jam, loose magazine[citation needed]
Lens mount
Arri PL (Super 35 compatible)
Lens control
Arri-style follow focus. Integrated Lens Data System (LDS) and Lens Control System (LCS).
Shutter
electronic reflex mirror; Can adjusted between 0° and 180° while in standby; rampable between 11.2° and 180° while running. Fully adjustable within 0.1° increments.
Viewfinder
Studio, Lite, Studio Universal, and Lite Universal. All cover Super 35, rotates 360° and to left or right of camera with manual adjustment for maintaining upright image continuously. Can be used with either eye. Manual image adjustment standard on all. Studio Universal and Lite Universal have anamorphic switch available. Standard 80/20 beamsplitter, but entire viewfinder and beamsplitter can be replaced with 100% video tap for Steadicam or remote rigging. Heated eyepiece and eyepiece extenders also available.
Video assist
Arricam Integrated Video System (IVS) standard; colour, flicker-free, video iris, gain, frame lines, lens data (with LDS system), color temperature, freeze and compare
Ground glass
Interchangeable. Arriglow module available.
Magazines
Lite only rear-mounted, available in 400 ft (122 m) shoulder and 400 ft (120 m) Steadicam versions. 400 ft (120 m) and 1000 ft (300 m) Studio mags can be used with an adapter. All have torque motors and include LCD footage counters. Studio magazines have manual footage counters and take-up.
Magazine loading
active displacement mags; takes up emulsion in (9P design).
Film cores
standard cores
Matte boxes
Arriflex MB or LMB models, 15 or 19 mm rods
Electronic accessories
24 V and 12 V ports, with combined 7 A maximum load; shutter timing shift box (TSB), zoom control (ZMU), wireless remote system (WRS), wireless remote control (WRC), remote control unit (RCU), universal motor controller (UMC), lens data archive (LDA), heated eyepiece (HE), lens data mount (LDM), integrated video system (IVS), Varicon flashing unit, external sync unit (ESU), cine tape measure, accessory power box (APB), remote switch (RS), onboard video monitor, lens data display (LDD), work light
Arricam is a 35 mm movie camera line manufactured by Arri. It is Arri's flagship sync-sound camera line, replacing the Arriflex 535 line. The design was...
testing in 1998. In 2000, Arri purchased the company Moviecam and developed Arricam, a 35mm camera platform. In 2003, Arri developed its first digital camera...
and motion control, among other usage. Before the introduction of the Arricam System, the 535 was one of the most popular 35 mm sync-sound movie camera...
stock. Scenes where Oscar is alive were shot in the super 35 format with Arricam LT cameras, and the rest in super 16 with an Aaton XTR Prod. The cinematographer...
together with Walter Trauninger and their camera development team, the Arricam System, which combined the basic movement and design of the Moviecam systems...
used motion picture camera company Arri's Arriflex 435, Arriflex 535, and ArriCam Studio 35mm film cameras for the trilogy. He used Carl Zeiss Ultra Prime...
Ward, photographed by Yaron Orbach and directed by John Carpenter. The Arricam systems, co-developed by Arri and Bauer, were inspired by the Compact and...
5218 and Vision2 Expression 500T 5229 film stocks. The film was shot with Arricam and Arriflex cameras and Cooke S4 lenses. Several scenes required multiple-camera...
for feed and take-up (a design similar to the Moviecam and subsequent Arricam) instead of one large drum to do both. As of 2006, Panavision has no further...
like much younger men. The picture was primarily shot on 35 mm film with Arricam STs and LTs, and with RED Heliums for sections shot on digital, with two...
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sequences, and Eastman Double-X 5222 for the black-and-white sequences, on Arricam Studio and Lite cameras provided by a studio in Paris. Anderson preferred...
after collaborating with Hirani for Lage Raho Munna Bhai (2006). He used Arricam Lite (LT) camera for shooting the film, which consisted of Angenieux Optimo...
4 kg) Sync <23 dB Arricam LT Arricam Arri 2000 8.7 lb (3.9 kg), body only; 11.56 lb (5.24 kg), with finder Sync <24 dB Arricam ST Arricam Arri 2000 11.9 lb...
poised to support the format. Arri made 2-perf movement blocks for their Arricam and Arriflex 235 cameras available for rental in March 2007. Aaton's Penelope...
Hotel on 35 mm film using Kodak Vision3 200T 5213 film stock from a single Arricam Studio camera provided by Arri's Berlin office. His approach entailed the...
Cinematographer Jim Gucciardo shot the film in Anamorphic 35mm using an Arricam LT with Hawk Anamorphic V series lenses as the main “A” camera as well...
available in 2-perf for a while, and Arri is making 2-perf gates for their Arricams soon, available only through the rental dealers though. And more and more...
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