The Arriflex 2C, a stalwart of filmmaking for decades, used primarily 35mm motion picture film. Its versatility and robust design allowed it to accommodate a range of 35mm formats, making it a favorite among filmmakers from independent auteurs to Hollywood giants.
A Deep Dive into 35mm and the Arriflex 2C
The Arriflex 2C wasn’t just a camera; it was a system. Its enduring appeal lay in its adaptability and rugged reliability, making it a preferred choice across diverse cinematic applications. The camera’s core compatibility was with 35mm film, the industry standard for professional filmmaking since the early 20th century. However, the specific aspect ratio and perforations varied, allowing for significant creative control.
The Arriflex 2C’s Key Features
The Arriflex 2C’s design allowed for easy interchangeability of lenses and magazines, accommodating different shooting needs. Its reflex viewing system, a groundbreaking innovation at the time, allowed filmmakers to see exactly what the lens was capturing. This reflex viewing capability was crucial for precise framing and focus, particularly in challenging lighting conditions. The camera’s robust build quality ensured it could withstand the rigors of on-location shooting, solidifying its reputation as a workhorse.
Why 35mm?
35mm film offered a superior image quality compared to smaller formats like 16mm or Super 8. Its larger negative area resulted in less grain and greater detail, making it ideal for theatrical releases and high-resolution reproductions. The availability of a vast array of 35mm film stocks, each with its unique characteristics in terms of color rendition, contrast, and grain, also contributed to its popularity. Directors and cinematographers could choose the film stock that best suited their aesthetic vision.
Understanding 35mm Variations Used in the Arriflex 2C
While the Arriflex 2C primarily used 35mm film, it’s crucial to understand the variations within that format. These variations pertain primarily to the perforation type and the aspect ratio.
Perforation Types: A and B
Two main types of perforations were commonly used with the Arriflex 2C: Academy Standard (A) and Bell & Howell (B). These perforations determined how the film was transported through the camera mechanism. While both could theoretically be used (though mixing them was impossible in the same load), certain camera modifications and magazine configurations might favor one over the other. The choice often came down to the specific needs of the production and the available resources.
Aspect Ratios: Shaping the Cinematic Vision
The Arriflex 2C could accommodate different aspect ratios through the use of various lenses and ground glasses. The most common aspect ratio was Academy Ratio (1.37:1), the standard for many years. However, the camera could also be adapted for widescreen formats like CinemaScope (2.35:1) or VistaVision (1.85:1) using anamorphic lenses or by cropping the image in post-production. The versatility in aspect ratio allowed filmmakers to tailor the image to the story they wanted to tell.
Frequently Asked Questions (FAQs)
Here are some of the most frequently asked questions about the film used in the Arriflex 2C:
FAQ 1: Could the Arriflex 2C use color film?
Yes, absolutely. The Arriflex 2C was compatible with both black and white and color 35mm film stocks. The choice of film stock depended entirely on the creative intent of the filmmaker. Many iconic films, both in color and black and white, were shot using the Arriflex 2C.
FAQ 2: What film speed (ISO) was commonly used with the Arriflex 2C?
The ISO rating of the film used in the Arriflex 2C varied depending on the lighting conditions and the desired aesthetic. Faster film stocks (higher ISO) were used in low-light situations, while slower film stocks (lower ISO) were preferred for brighter conditions to achieve finer grain and greater detail. Commonly used ISO ranges were between 50 and 500.
FAQ 3: What is the difference between “A” and “B” perforations?
“A” and “B” perforations refer to the shape and placement of the holes along the edge of the 35mm film. The difference is subtle but crucial for proper film transport within the camera. Although the camera is capable of running both, proper alignment must be ensured with the right magazine and sprockets.
FAQ 4: Could you use Super 35mm film in an Arriflex 2C?
While the Arriflex 2C was designed for standard 35mm, it could be modified to shoot Super 35mm. Super 35mm utilizes the entire width of the film, including the area typically reserved for the soundtrack, resulting in a larger image area that can be cropped to various widescreen formats. This modification required specialized gates and potentially lens considerations.
FAQ 5: What was the typical film load capacity of an Arriflex 2C magazine?
The film load capacity varied depending on the magazine size. Common magazine sizes held 400 feet or 1000 feet of 35mm film. A 400-foot magazine provided approximately 4 minutes and 30 seconds of shooting time at 24 frames per second.
FAQ 6: Was there a specific film stock that was considered the “best” for the Arriflex 2C?
There was no single “best” film stock, as the ideal choice depended on the specific project and the desired aesthetic. Popular choices included Kodak Vision3 stocks for color and Kodak Double-X for black and white, known for their versatility and beautiful rendition.
FAQ 7: What equipment was needed to load film into an Arriflex 2C magazine?
Loading film required a darkroom or a changing bag to protect the film from light exposure. In addition, a film cutter and splicing tape were necessary for preparing the film and attaching it to the magazine core. Practice and meticulous attention to detail were essential to avoid scratching or damaging the film.
FAQ 8: How did filmmakers adjust the Arriflex 2C for different frame rates?
The Arriflex 2C featured an adjustable frame rate mechanism, allowing filmmakers to shoot at various speeds, typically ranging from 8 to 50 frames per second. This allowed for slow-motion or fast-motion effects to be achieved in-camera.
FAQ 9: What impact did film grain have on the final image captured with the Arriflex 2C?
Film grain is an inherent characteristic of film photography. It refers to the tiny silver halide crystals that make up the film emulsion. Depending on the film stock and the shooting conditions, grain could be more or less noticeable. Some filmmakers embraced grain as an artistic element, while others sought to minimize it through the use of slower film stocks and careful lighting.
FAQ 10: How did the Arriflex 2C handle film shrinkage over time?
Film shrinkage is a natural process that occurs as film ages and loses moisture. The Arriflex 2C, with its robust transport mechanism, was generally able to handle some degree of film shrinkage. However, excessive shrinkage could lead to jamming or image instability. Proper storage and handling of film were crucial to minimize shrinkage.
FAQ 11: What type of processing was required for the film shot in an Arriflex 2C?
The processing required depended on the specific film stock used. Color negative film typically required the ECN-2 process, while black and white negative film required various black and white developer processes. Proper processing was essential to ensure accurate color rendition and image quality.
FAQ 12: Is it still possible to shoot with an Arriflex 2C today?
Yes! While digital filmmaking has become increasingly prevalent, the Arriflex 2C remains a viable option for filmmakers who appreciate the unique aesthetic and workflow of film. Film stocks are still manufactured, and rental houses continue to offer Arriflex 2C cameras and related equipment. Shooting with film offers a different creative experience and a distinct visual quality that many filmmakers find appealing.