Providing over 4k resolution, films huge tonal range, minimal depth of field and unparalleled image quality, 35mm is the way to go for any project that needs to look as good as possible. Film can be transferred to any format you want so you can use your existing postproduction workflow.

Camera history: The Arriflex 35BL-1 was first introduced in 1972 as the first self blimped 35mm camera. It was a huge improvement over the Mitchell BNCR cameras used at the time as it was quiet enough to shoot sync sound without a blimp (large, heavy camera housing) and was small and light enough for hand held shooting. It featured a newly designed registration pin movement, 180 degree mirror shutter, easily interchangeable gates and ground glasses for shooting all 35mm formats, adjustable viewfinder for viewing from any angle above or below the camera and 400′ and 1000′ coaxial magazines. It was also very easy to load and use. The first 2 versions, 35BL-1 and 35BL-2 had a Arri Bayonet mount and required a lens blimp to keep noise from getting out the front of the camera. In 1980 the 35BL-3 was introduced. This had a sound isolating PL mount so lens blimps were no longer needed and a much wider selection of lenses could be used. The 35BL-4 featured a much improved viewfinder. In all 5 versions of the the Arri 35BL were built between 1972 and 1990 when the Arri 535 and Moviecam Compact were released.

PS Technik, a German company started by former Arri engineers offered a upgrade program for older 35BL cameras called the BL Evolution. Instead of buying a new camera, owners could upgrade to the latest improvements at a much more affordable price. Evolution upgrades included a new viewfinder system for the 35BL-3 that provided a much brighter and sharper viewfinder image with illuminated frame lines like the BL-4.

Arriflex 35BL cameras are legendary in the film business. They were used as the primary A camera to shoot many of the best looking films ever made including The Shining, Barry Lyndon, Full Metal Jacket, Taxi Driver, Raging Bull, The Color of Money, Out of Africa, Apocalypse Now, Return of the Jedi, Backdraft, The Shawshank Redemption, Goodfellas, The Abyss, The Terminator and Terminator 2 Judgement Day.

Arriflex 35BL Cameras were built to last for many decades. They are still in use around the world today providing the perfectly steady images and quiet operation they are known for with very high reliability.

My Arriflex 35BL-3 is normally set up for Super 35 which provides the largest possible image for digital transfer. I offer 1.78, 1.85 and 2.35 aspect ratios in Super 35. I also have gates and ground glass viewing screens for all 35mm projection formats including Academy 1.37, 1,66, 1.85 and 2.35 cinemascope (anamorphic lenses must be rented separately) if you want to make film prints for projection.

Arriflex 35BL-3 package:

Arriflex 35BL-3 with Evolution viewfinder, viewfinder extension, sliding baseplate, choice of gate and groundglass, 2-400′ magazines, 5-1000′ magazines, video tap, 15″ monitor and 2 batteries

Lenses:
Zeiss Compact Primes 25mm, 35mm, 50mm T2.1. Meike 18mm T2.1, Red 50-150 T3 zoom.

Arri swing away Matte Box, Arri Follow Focus 2 studio follow focus

Tripods:
Oconnor 100 head
Oconnor 55L 2 stage tripod with midleg spreader
Hi hat

Filters: ND.3, ND.6, ND.9, ND1.2, 85, 85ND.3, 85ND.6, 85ND.9, 85ND 1.2, LLD, Polarizer