For 100 years, ARRI has been leading the charge in revolutionizing and setting the standards for image capture. It’s no wonder that filmmakers around the world choose ARRI cameras and gear for their award-nominated films. In fact, the ARRI Alexa system just earned its 19th Scientific and Technical Academy Award from the Oscars. And hundreds of Oscar-nominated pictures have been shot on ARRI cameras, including this year’s Best Cinematography nominee Rodrigo Prieto, who shot Silence on two separate ARRI systems.
But how did ARRI become the go-to choice for filmmakers? Let’s dive into the 100-year history of ARRI and see what’s next. It all started with childhood friends August Arnold and Robert Richter, who became fascinated with the motion picture business. They worked as assistants on documentaries and newsreels before purchasing a used Urban 35mm camera and making technical improvements. Soon after, they built their first film printing machine and founded the Arnold & Richter Cine Technik company, later shortened to ARRI.
By 1918, Arnold and Richter were officially filmmakers, shooting many western feature films and driving themselves to push their camera’s technical abilities. In the 1920s, they began shooting their own independent productions and financing the production of their own equipment. They designed and manufactured a mobile generator and produced their first camera, the KINARRI 35, which they rented out to other cameramen.
From these humble beginnings, ARRI has become a household name in the film industry, constantly pushing the boundaries of what’s possible in image capture. And with their 100-year history of innovation and excellence, it’s no wonder that filmmakers continue to choose ARRI as their go-to choice for capturing stunning visuals.Get ready to take a trip down memory lane with ARRI, the company that revolutionized the film industry. In the mid-1920s, ARRI made its mark in the United States with the first large film processor with friction drive. Fast forward to 1928, and the company released the KINARRI 16, a hand-cranked camera designed for amateur filmmakers. But that was just the beginning.
In 1937, ARRI introduced the first ARRI fresnel lampheads, followed shortly after by the legendary ARRIFLEX 35. This camera was a game-changer, being the first reflex mirror shutter camera that allowed camera operators to focus through a viewfinder and frame their subjects without parallax errors. The ARRIFLEX 35 was capable of shooting up to 80 frames per second and was even used as a battlefield camera during World War II to capture intelligence and shoot training films and propaganda.
But ARRI didn’t stop there. In the 1950s, the company purchased new property in Stephanskirchen to house the factory that would design and manufacture ARRI lighting fixtures and camera magazines. In 1952, ARRI released its largest lamphead ever, the GIGANT 20kW. That same year, we got the iconic image of legendary racer Graham Hill filming a training lap with an ARRIFLEX 16ST mounted to his race car. The ARRIFLEX 16ST was the first professional 16mm film camera with a reflex mirror shutter and became incredibly popular among news channels and sports coverage, eventually making its way into documentaries and films.
From the KINARRI 16 to the ARRIFLEX 35 and beyond, ARRI has left an indelible mark on the film industry. It’s no wonder that the Academy of Motion Picture Arts and Science presented the ARRIFLEX 35 with the Academy Award of Merit for the concept and engineering of the camera. So the next time you’re watching a movie, take a moment to appreciate the technology and innovation that ARRI has brought to the big screen.Get ready to dive into the fascinating history of ARRI, the company that revolutionized the film industry with their innovative cameras and equipment. Check out the incredible ARRI studios and offices that allowed them to create groundbreaking gear like the first-ever sound-proof blimps for 16mm and 35mm cameras. And let’s not forget about the iconic films that were shot using ARRI cameras, like A Hard Day’s Night and The Good, the Bad and the Ugly. Plus, learn about the legendary ARRIFLEX 35BL camera that changed the game for handheld footage in films like Taxi Driver, Raging Bull, and Apocalypse Now. Discover the impact that ARRI had on the film industry in the 1980s and ’90s with their post-production workflows and ARRI Video launch. This is a story you won’t want to miss!Lights, camera, ARRI! The company, now known as ARRI Film & TV, has been a major player in the film industry since the debut of their ARRI STUDIO lights in 1988. These high-performance lampheads were the first to use tungsten halogen lamps with wide-angle lenses, providing a 60-degree beam angle. But that’s not all – in 1989, ARRI sent an ARRIFLEX 16mm camera into orbit onboard NASA’s Columbia and Atlantis shuttles. Talk about out-of-this-world filmmaking!
The ’90s saw even more advancements from ARRI, including the release of the ARRIFLEX 765, a 65mm camera designed to provide the ergonomics of a 35mm camera body. This camera is still being used today on sets for films like The Hateful Eight, Gravity, and Shutter Island. And let’s not forget about the ARRIFLEX 535 and 435 cameras, which were often used as secondary cameras on major productions like Schindler’s List, Star Wars: Episode I, and The Lord of the Rings: The Two Towers.
But ARRI didn’t stop at camera bodies – they also made strides in lens technology and lighting. The ARRI/Zeiss Variable Prime lenses and Ultra Primes were game-changers, as were the compact lights like the ARRISUN and ARRILUX.
In the 2000s, ARRI made a major move in camera manufacturing by debuting the ARRICAM Studio and ARRICAM Lite. These 35mm camera systems offered ultimate sync sound, quiet operation, and user-friendly ergonomics. They were the immediate choice for major films like Children of Men, Munich, and Brokeback Mountain. ARRI even made the jump to digital with the release of the ARRI D-20 camera.
From lights to lenses to cameras, ARRI has been a driving force in the film industry for decades. It’s no wonder they’re a go-to choice for filmmakers around the world.
Get ready to be blown away by ARRI’s incredible journey in the world of digital cameras! It all started in 2003 when they released their first-ever digital camera, the ARRIFLEX D-20. This camera was a game-changer and was used to capture the stop-motion film Corpse Bride and the film RocknRolla. After receiving feedback, ARRI made changes to the image-processing software and released the ARRIFLEX D-21 in 2008. This camera was a hit in television production, shooting series like Downtown Abbey, Luther, and Community. The D-21 also introduced ARRIRAW capture in Data Mode.
But that’s not all! In 2005, ARRI released their brightest light fixture, the ARRIMAX, and the new ARRI/Zeiss Master Prime series of lenses. The ARRI Wireless Remote Control system also received an overhaul with modular components, earning another Scientific and Technical Award from The Academy.
Fast forward to 2010, and ARRI raised the bar once again with the new digital ARRI ALEXA. This camera was truly revolutionary with its 35mm digital format that remains the standard of production today. The ALEXA offered an incredibly dynamic range, perfect for television and film production. Today, the ALEXA lineup, including the ALEXA MINI, M, Plus, Studio, XT, and SXT, appear on countless sets throughout the industry. They’re used on major films like Rogue One, The Revenant, Arrival, The Jungle Book, Creed, and nearly every film in the Marvel Cinematic Universe. You can find them on shows like The Flash, Fargo, Key and Peele, and Scandal.
But that’s not all! In 2014, ARRI introduced the AMIRA, a camera designed for documentary filmmakers and news shooters. The ALEXA and AMIRA are used on so many films and series that it would be impossible to list them all.
Check out this video showcasing some of the productions using ARRI cameras from their 2017 NAB showreel:
And the best part? ARRI continues to innovate their camera line, lighting, lenses, accessories, and so much more. The most recent models of the ALEXA aim to give cinematographers even more freedom with their new wireless systems. So, let’s all wish ARRI a Happy 100th Birthday and eagerly await what they come out with next!
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