Arri

Arri was founded in Munich, Germany on 12 September 1917 by August Arnold and Robert Richter as Arnold & Richter Cine Technik. The acronym Arri was derived from the initial two letters of the founders' surnames, Arnold and Richter.{{cite web| url=https://www.cnbc.com/2014/11/03/arri-group.html| title=ARRI Group| date=November 3, 2014| publisher=CNBC| access-date=September 19, 2016}}{{cite web| url=http://www.calkovsky.com/about-arriflex/| title=About Arriflex| publisher=Calkovsky Cinema Worldwide}}

In 1924, Arnold and Richter developed their first film camera, the small and portable Kinarri 35.{{cite news|url=https://www.questia.com/read/1P3-2673654661|title=Bridging past and present|last=Leitner|first=David|date=1 October 2010|work=Filmmaker |via=|url-access=|access-date=}}{{dead link|date=July 2021}} In 1937, Arri introduced the world's first reflex mirror shutter in the Arriflex 35 camera, an invention of longtime engineer Erich Kästner. This technology employs a rotating mirror that allows a continuous motor to operate the camera while providing parallax-free reflex viewing to the operator,{{cite news|url=https://www.questia.com/read/1P3-1493109381|title=90 years of precision|last=Birchard|first=Robert|date=1 June 2008|work=American Cinematographer |via= |url-access=|access-date=}}{{dead link|date=July 2021}} and the ability to focus the image by eye through the viewfinder, much like an SLR camera for photography. The reflex design was subsequently used in almost every professional motion picture film camera and is still used in the Arri Alexa Studio digital camera. The first Hollywood film to employ an Arriflex was the 1947 Humphrey Bogart and Lauren Bacall film Dark Passage in 1947. Over the years, more than 17,000 Arriflex 35s were built.{{cite book| title=Chronicle of a Camera: The Arriflex 35 in North America, 1945-1972| author=Norris Pope| publisher=University Press of Mississippi| date=February 15, 2013}} The design was recognized with two Scientific and Technical Academy Awards in 1966 and 1982.

File:Ramachandra Babu.jpg with Arriflex 535B camera]]

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File:Stafford Air & Space Museum, Weatherford, OK, US (59).jpg

In 1952, Arri introduced the Arriflex 16ST, the first professional 16mm camera with a reflex viewing system.{{Cite journal|last1=John|first1=Ellis|last2=Nick|first2=Hall|date=2018-04-11|title=ADAPT|journal=Figshare|language=en-US|doi=10.17637/rh.c.3925603.v2}}{{cite web| url=http://cinematechnic.com/resources/arri_16s| title=Camera Profile - ARRIFLEX 16S Series| date=23 February 2016| publisher=Cinema Technic| access-date=September 20, 2016}}{{cite web| url=https://www.nyfa.edu/film-school-blog/the-history-of-16-mm-film-and-the-arriflex-16-s-camera/| title=The History of 16 MM Film and the Arriflex 16 S Camera| publisher=New York Film Academy| access-date=September 20, 2016| date=2009-04-10}} In 1965, a self-blimped 16mm camera was released: the Arriflex 16BL.{{cite web| url=http://cinematechnic.com/resources/arri_16bl| title=Camera Profiles - Arriflex 16BL| date=23 February 2016| publisher=CinemaTechnic| access-date=July 6, 2016}} The Arriflex 35BL followed in 1972 as a lightweight, quiet alternative to the rather heavy and cumbersome blimped cameras of the time.{{cite web| url=http://cinematechnic.com/resources/arri_35bl| title=Camera Profiles - ARRI ARRIFLEX 35BL Series| date=23 February 2016| publisher=Cinema Technic| access-date=September 20, 2016}} Also in 1972, Arri pioneered the development of daylight luminaires with the Arrisonne 2000 W.{{citation needed|date=June 2016}} The Arriflex 16SR, launched in 1975, featured a redesigned viewfinder with a through-the-lens light meter.{{cite web| url=http://cinematechnic.com/resources/arri_16sr| title=Camera Profiles - Arri 16SR series| date=23 February 2016| publisher=Cinema Technic| access-date=September 20, 2016}} The Arriflex 765, a 65mm camera, was released in 1989, partly in response to the growing industry demand for 70mm release prints.{{cite web| url=http://www.in70mm.com/news/2013/arri765/index.htm| title=Interview With Otto Blaschek| author=Alexander Felsenberg| date=1989| publisher=In 70mm| access-date=September 20, 2016}}

The Arriflex 535 camera was released in 1990, followed by the Arriflex 535B and the Arriflex 16SR 3 in 1992. The Arriflex 435 was released in 1994.{{cite web| url=http://www.cinematographers.nl/CAMERAS2.html| title=Modern Motion Picture Cameras| publisher=IEC| access-date=September 20, 2016}}{{cite web| url=http://www.cbadoc.be/images/manuals/ARRI16SR3_manual.pdf| title=Instruction Manual| publisher=CBADOC| access-date=September 20, 2016}}{{Dead link|date=May 2019 |bot=InternetArchiveBot |fix-attempted=yes }}

Arri partnered with Carl Zeiss AG in order to develop and manufacture advanced lenses for the motion picture industry. In 1998, Arri released the Ultra Prime lenses.{{cite web| url=http://cinematechnic.com/optics/arri_zeiss_ultra_primes| title=Lens Profiles - Arri Zeiss Ultra Prime Lenses| date=23 February 2016| publisher=Cinema Technic| access-date=September 19, 2016}}

Development of the Arrilaser, a postproduction film recorder, began in 1997 and it was released for beta testing in 1998.{{cite web| url=https://library.creativecow.net/kaufman_debra/SciTech_Award_ARRILASER/1| title=The Academy Award of Merit goes to... the ARRILASER Film Recorder| author=Debra Kaufman| publisher=Creative Cow| access-date=September 19, 2016| archive-date=August 10, 2020| archive-url=https://web.archive.org/web/20200810213814/https://library.creativecow.net/kaufman_debra/SciTech_Award_ARRILASER/1| url-status=dead}}{{cite web| url=https://variety.com/1998/digital/news/digital-domain-tests-new-laser-recorder-1117489673/| title=Digital Domain tests new laser recorder| author=Eric J. Olson| date=December 22, 1998| publisher=Variety| access-date=September 19, 2016}}

In 2000, Arri purchased the company Moviecam and developed Arricam, a 35mm camera platform. In 2003, Arri developed its first digital camera, the Arriflex D-20,{{cite web| url=http://www.broadcaststore.com/store/model_detail.cfm?id=805105| title=ARRI D-20| publisher=Broadcast Store| access-date=July 6, 2016}} which later evolved into the D-21. The camera used a 35mm CMOS sensor (instead of CCD) and allowed cinematographers to utilize standard 35mm lenses. This technology was further developed and improved for the Arri Alexa camera.{{Citation needed|date=April 2011}}

Arri revealed its Arriscan prototype during IBC 2003. The 16mm/35mm film scanner worked alongside the Arrilaser to support the increasingly popular digital intermediate route through postproduction.{{cite web| url=http://www.creativeplanetnetwork.com/news/news-articles/arriscan-arrive-summer-2004/414876| title=Arriscan To Arrive Summer 2004| date=February 14, 2012| publisher=Creative Planet| access-date=September 20, 2016}} Later, the Arriscan became a widely used tool for film restoration work and was recognized with a Scientific and Engineering Academy Award in 2009.{{cite web| url=http://awardsdatabase.oscars.org/ampas_awards/DisplayMain.jsp?curTime=1467768275528| title=2009 (82nd)| publisher=Oscars Awards Database| access-date=July 6, 2016}}{{Dead link|date=May 2019 |bot=InternetArchiveBot |fix-attempted=yes }}

Arri released the Master Prime lenses in 2005, designed for a super-fast aperture of T1.3 without breathing and distortion.{{cite web| url=https://library.creativecow.net/kaufman_debra/Sci-Tech-Zeiss/1| title=The SciTech Award Goes to... ARRI/Zeiss Maser Prime Lenses for Motion Picture Photography| publisher=Creative Cow| access-date=September 20, 2016| archive-date=November 27, 2020| archive-url=https://web.archive.org/web/20201127172925/https://library.creativecow.net/kaufman_debra/Sci-Tech-Zeiss/1| url-status=dead}}{{cite web| url=http://www.fdtimes.com/2010/12/05/zeiss-book/| title=Zeiss Book| date=December 5, 2010| author=Jon Fauer |author-link=Jon Fauer | publisher=Film And Digital Times| access-date=September 20, 2016}} In 2007, the Master Prime 14mm and 150mm lenses were released.{{cite web| url=http://to411daily.com/2007/08/30/master-prime-family-grows-wider-and-longer/| title=Master Prime Family Grows Wider and Longer| date=August 30, 2007| publisher=To 411 Daily| access-date=September 20, 2016}}

The Arrilaser 2 was released in 2009, with new client-server architecture and speeds twice as fast as the original model.{{cite web| url=http://www.postmagazine.com/Press-Center/Daily-News/2009/ARRI-DELIVERS-ARRILASER-2-FILM-RECORDER.aspx| title=Arri delivers Arrilaser 2 film recorder| date=July 1, 2009| publisher=Post Magazine| access-date=September 20, 2016}} In 2011, the Arrilaser was recognized with an Academy Award of Merit.

In 2010, the Arri Alexa camera was released. The camera had the ability to compress 1080p footage to ProRes QuickTime formats and allowed direct-to-edit workflows.{{cite web| url=https://www.engadget.com/2010/04/07/arris-alexa-busts-out-native-prores-recording-plans-for-red-sm/| title=ARRI's ALEXA busts out native ProRes recording, plans for RED smiting| author=Chad Mumm| date=April 7, 2010| publisher=Engadget| access-date=September 20, 2016}} Later models added to the range included the Alexa Plus, Alexa Studio and Alexa M, which was designed to get the camera closer to the action.{{cite web| url=http://filmmakermagazine.com/45733-unusual-camera-moves-with-the-alexa-m/#.V217lJMrJTY| title=Unusual Camera Moves With the Alexa M| author=Michael Murie| date=May 16, 2012| publisher=Film Maker Magazine| access-date=September 20, 2016}} The Alexa Plus 4:3, like the Alexa Studio, allowed the full area of the sensor to be used with anamorphic lenses.{{cite web| url=http://www.studiodaily.com/2012/04/arri-debuts-alexa-plus-43/| title=ARRI Announces ALEXA Plus 4:3| author=Bryant Frazer| date=April 26, 2012| publisher=Studio Daily| access-date=September 20, 2016}}

The 16mm Arriflex 416 camera and Ultra Prime 16 lenses were used in the filming of the 2010 film Black Swan.{{cite web| url=https://www.theasc.com/ac_magazine/December2010/BlackSwan/page1.php| title=Danse Macabre| publisher=The American Society of Cinematographers| author=Stephen Pizzello| access-date=September 20, 2016| archive-date=February 7, 2017| archive-url=https://web.archive.org/web/20170207112736/https://www.theasc.com/ac_magazine/December2010/BlackSwan/page1.php| url-status=dead}}

Arri announced a strategic partnership with Zeiss and Fujinon in 2010 to create new lenses that incorporated enhanced electronic lens data transfer in order to simplify visual effects workflows in postproduction.{{cite web| url=http://plsn.com/on-the-move/5604-arri-zeiss-and-fujinon-announce-partnership.html| title=ARRI, Zeiss and Fujinon Announce Partnership| date=April 14, 2010| publisher=PLSN| access-date=September 19, 2016}}{{Dead link|date=October 2019 |bot=InternetArchiveBot |fix-attempted=yes }}{{cite web| url=http://www.definitionmagazine.com/journal/2010/4/19/three-major-lens-manufacturers-announce-partnership.html| title=Three Major Lens Manufacturers Announce Partnership| date=April 19, 2010| publisher=Definition Magazine| access-date=September 19, 2016}} The Arri/Fujinon Alura Zooms were released that same year, while the Arri/Zeiss Master Anamorphic lens series was released in 2012.{{cite web| url=http://www.studiodaily.com/2010/04/arrifujinon-alura-the-next-generation-of-zooms/| title=Arri/Fujinon Alura: The Net Generation of Zooms| date=April 12, 2010| publisher=Studio Daily| access-date=July 6, 2016}}{{cite web| url=http://cinematechnic.com/optics/arri_zeiss_master_anamorphic| title=CinemaTechnic Lens Profiles - ARRI Zeiss Master Anamorphic Lenses| date=23 February 2016| publisher=Cinema Technic| access-date=July 6, 2016}}

In 2013, Arri created Arri Medical, a business unit that utilizes its camera technology for medical purposes.{{cite web

| title = Official website of Arri Medical

| url = http://www.arriscope.com/

| date = 10 May 2013

| access-date = 28 May 2013}} Apart from a medical imaging documentation service,{{cite web

| title = Arri Medical Service

| url = http://www.arriscope.com/arri_surgical_imaging.html

| date = 10 May 2013

| access-date = 28 May 2013

| archive-date = 4 March 2016

| archive-url = https://web.archive.org/web/20160304141945/http://www.arriscope.com/arri_surgical_imaging.html

| url-status = dead

}} it has developed a fully digital 3D surgical microscope called the Arriscope.

The Arri Alexa 65, released in 2014, was used in the filming of The Revenant as well as Mission: Impossible – Rogue Nation and Star Wars: Rogue One.{{cite web| url=https://variety.com/2016/film/awards/arri-alexa-65-camera-hollywood-1201708452/| title=Arri Alexa 65: From Landscapes to Rom-Coms, the Camera That's Won Over Lensers| author=Karen Idelson| date=February 18, 2016| publisher=Variety| access-date=September 20, 2016}} The Arri Amira camera was also released in 2014. In 2015, four of the five nominees for the cinematography category of the Academy Awards were filmed using the Arri Alexa.{{cite web| url=https://www.hollywoodreporter.com/behind-screen/oscars-arri-alexa-camera-choice-774824| title=Oscars: ARRI Alexa Camera of Choice for Nominees; Kodak Holds Its Own| date=February 18, 2015| author=Carolyn Giardina| publisher=The Hollywood Reporter| access-date=September 20, 2016}}

Arri's subsidiary postproduction and creative services company, Arri Film & TV, was renamed Arri Media in 2015 as part of a company restructuring.{{cite web| url=http://soundandpicture.com/2015/05/arri-film-tv-becomes-arri-media/| title=ARRI Film & TV Becomes ARRI Media| date=May 26, 2015| publisher=Sound & Picture| access-date=September 20, 2016}} At NAB 2015, the SkyPanel LED fixtures were introduced by Arri. The SC60 and the SC30 have a full color tunable LED option.{{cite web| url=http://www.newsshooter.com/2016/05/18/hands-on-with-the-arri-skypanels-a-single-operators-perspective| title=Hands on with the Arri SkyPanels - a single operator's perspective| author=Matthew Allard| date=May 18, 2016| publisher=News Shooter| access-date=September 20, 2016}}

In April 2016, Arri acquired the artemis camera stabilizer systems developed by Curt O. Schaller from Sachtler / Vitec Videocom. As a result, Arri became the exclusive seller of Artemis Trinity stabilizers.{{cite web| url=http://www.premiumbeat.com/blog/nab-2016-arri-purchases-the-artemis-trinity-announces-new-lenses-and-more/| title=NAB 2016: ARRI Purchases the Artemis Trinity, Announces New Lenses, and More| author=Michael Maher| date=April 20, 2016| publisher=The Beat| access-date=September 19, 2016}} At NAB 2016, Arri unveiled its version of the Trinity system.{{cite web| url=http://www.definitionmagazine.com/journal/2016/4/19/arri-get-into-the-camera-stabilisation-business| title=ARRI Get Into The Camera Stabilisation Business| publisher=Definition Magazine| access-date=September 19, 2016}}

The second generation of Arri camera stabilization systems followed in 2022 with ARTEMIS 2 and TRINITY 2.

In 2025, Curt O. Schaller was awarded the Academy Scientific and Engineering Award for the concept, design and development of the Trinity 2 system.{{cite web| url=https://press.oscars.org/news/14-scientific-and-technical-achievements-be-honored-academy-awardsr| title=14 SCIENTIFIC AND TECHNICAL ACHIEVEMENTS TO BE HONORED WITH ACADEMY AWARDS| date=January 27, 2025| publisher=Academy of Motion Picture Arts and Sciences| access-date=January 29, 2025}}{{cite web| url=https://deadline.com/2025/01/oscars-academy-sci-tech-winners-moves-ceremony-april-1236269617/| title=Oscars: Academy Names Sci Tech Winners Including Statuette For Captioning, Moves Fires-Postponed Ceremony To Late April| date=January 27, 2025| publisher=Deadline Hollywood| access-date=January 29, 2025}}{{cite web| url=https://britishcinematographer.co.uk/curt-o-schaller-awarded-scientific-and-technical-award-for-the-arri-trinity-2-camera-stabiliser-system/| title=Curt O. Schaller awarded Scientific and Technical Award for the ARRI TRINITY 2 camera stabiliser system| date=February 11, 2025| publisher=britishcinematographer.co.uk| access-date=February 19, 2025}}

Historically, Arri used three types of lens mounts. The mounts became popular and adapters for them had been made by other camera manufacturers.{{sfn|Hart|2012|p=165}}

Arri standard was a lens mount developed by Arri for use with both 16 mm and 35 mm movie cameras. Lenses are distinguished by a tab inside an outer ring. Because of the weak seating strength and ability of the aluminum mount to gradually become poorly seated, the stainless steel Arri bayonet mount superseded the Arri standard mount in 1965, debuting on the 16BL. However, cameras with the bayonet mount are also able to accommodate Arri standard lenses due to both mounts having the same flange focal distance and diameter. Cameras with Arri standard mounts are unable to fit lenses with Arri bayonet mounts, due to the bayonet mount's locking mechanism.

Arri bayonet was a lens mount developed by Arri for use with both 16 mm and 35 mm movie camera lenses. Lenses of this type are distinguished by "outer wings" which both control aperture and bayonet alignment, and are placed in the mount while two pressure tabs are simultaneously depressed at the side of the lens mount on the camera. These tabs provide a relatively strong locking mechanism which allows for higher quality lens seating than offered by the Arri standard mount. Debuting in 1965 with the 16BL, the Arri bayonet mount superseded the Arri standard mount, but cameras with the bayonet mount were also able to accommodate Arri standard lenses due to both mounts having the same flange focal distance and diameter. However, cameras with Arri standard mounts were unable to fit lenses with Arri bayonet mounts, due to the locking mechanism. The bayonet mount began to be superseded around 1980 by the Arri PL mount, which has since become an overwhelmingly predominant mount for most modern cameras, along with Panavision and their PV mount.

Arri PL is a lens mount developed by Arri for use with both 16 mm and 35 mm movie cameras. The PL stands for "positive lock". It is the successor mount to the Arri bayonet; unlike the bayonet mount, however, it is incompatible with older Arri-mount lenses, due to the larger diameter.

;Camera lines

• Kinarri 35 (1924)
• Kinarri 16 (1928)
• Arriflex 35 (1937)
• Arriflex 35 II (1946)
• Arriflex 16ST (1952)
• Arriflex 16M (1960)
• Arriflex 35 IIC (1963)
• Arriflex 16BL (1965)
• Arritechno 35 (1970)
• Arriflex 35BL (1972)
• Arriflex 16SR (1975)
• Arriflex 35BL II (1975)
• Arriflex 35BL III (1980)
• Arriflex 35 IIIC (1982)
• Arriflex 16SR2 (1982)
• Arriflex 35BL 4 (1986)
• Arriflex 35BL 4S (1988)
• Arriflex 765 (1989)
• Arriflex 535 (1990)
• Arriflex 535 B (1992)
• Arriflex 16SR 3 (1992)
• Arriflex 435 (1994)
• Arriflex 435 ES (1995)
• Arricam Studio and Lite (2000)
• Arriflex 235 (2003)
• Arriflex D-20/21 (2003/2008)
• Arriflex 416 (2006)
• Arri Alexa (2010)
• Arri Amira (2013)
• Arri Alexa 65 (2014)
• Arri Alexa Mini (2015)
• Arri Alexa SXT (2016)
• Arri Alexa LF (2018)
• Arri Alexa Mini LF (2019)
• Arri Alexa 35 (2022)
• Arri Alexa 265 (2024)

;Lighting

• Arri Fresnel (1937)
• Arri Gigant (1952)
• Arrisonne 2000 (1972)
• Arri Apollo (1979)
• Arri Studio (1988)
• Arri Compact Daylight (1991)
• Arrisun 40/25 (1992)
• Arrilux Pocket PAR (1996)
• ARRIMAX 18/12 (2005)
• Arri M40 (2011)
• Arri L7 LED Fresnel (2011)
• Arri SkyPanel S60-C (2015)
• Arri SkyPanel S120-C
• Arri SkyPanel S360-C
• Arri SkyPanel S30-C
• Arri Orbiter (2019)
• Stellar Lighting Control App

;Camera stabilizers

• ARRI ARTEMIS 2
• ARRI TRINITY 2
• artemis Maxima{{cite web| url=https://schaller-media.de/curt-o-schaller/| title=Curt O. Schaller, Academy Award winner: ARTEMIS & TRINITY developer| publisher=schaller-media.de| access-date=February 19, 2025}}{{cite web|url=http://www.studiodaily.com/2016/05/arri-debuts-final-version-of-trinity-stabilizer-and-maxima-gimbal/|title= ARRI Debuts Final Version of Trinity Stabilizer and Maxima Gimbal|date= 6 May 2016|publisher=Studio Daily|access-date=19 May 2016}}
• artemis Trinity

;Film recorder

• Arrilaser film recorder, used for film-out{{Citation needed|date=April 2011}}

;Film scanner

• Arriscan{{Citation needed|date=April 2011}}

In 2011, it was alleged that Michael Bravin, an executive of the US-based subsidiary Arri Inc., had unlawfully accessed a rival company email account. A suit was brought before a US court and in September 2011, Bravin entered a guilty plea.{{cite news|title='Former ARRI exec pleads guilty to hacking into rival CEO's e-mail account, faces jail time'|url=https://www.engadget.com/2011/09/23/former-arri-exec-pleads-guilty-to-hacking-into-rival-ceos-e-mai/|publisher=Engadget |date=September 23, 2011}}{{cite news|title=Guilty Plea Rocks Hollywood Camera Biz|url=https://deadline.com/2011/09/industry-vet-michael-bravin-pleads-guilty-to-hacking-rival-band-pro-while-with-arri-175060/|publisher=Deadlinen |date=September 2011}} Arri Inc. denied knowledge or gains from Bravin's actions,{{cite web| url=https://variety.com/2012/digital/news/camera-maker-arri-denies-rival-s-espionage-claims-1118050295/| title=Camera maker Arri denies rival's espionage claims| date=February 14, 2012| publisher=Variety| access-date=September 19, 2016}} and a separate lawsuit against the company was dropped as a result of an out-of-court settlement.{{cite web| url=http://scri.com/red-vs-arri-lawsuit-settled/| title=RED vs ARRI Lawsuit Settled| publisher=SCRI International| access-date=September 19, 2016| archive-date=April 14, 2019| archive-url=https://web.archive.org/web/20190414221951/http://scri.com/red-vs-arri-lawsuit-settled/| url-status=dead}}

• Carl Zeiss AG
• Panavision
• Red Digital Cinema
• Comparison of movie cameras

{{reflist|30em}}

• {{cite book|last=Hart|first=D.|title=The Camera Assistant: A Complete Professional Handbook|publisher=Taylor & Francis|year=2012|isbn=978-1-136-04913-2|url=https://books.google.com/books?id=lE6UYNJfnFIC&pg=PA165|access-date=2024-12-26}}

• {{Official website|http://www.arri.com}}
• [https://web.archive.org/web/20080515210519/http://www.cinematechnic.com/resources/index.html Arri's cameras histories in CinemaTechnic website]
• [https://web.archive.org/web/20091001023533/http://reel-show.tv/ Reviews: D-20 & D-21 on The Reel Show]
• [http://www.thefilmlot.com/helpfulstuff/pdfs/Arri_S.pdf Arriflex 16 S operating instructions - PDF]
• Discussion and demonstration of the Arriflex ST 16mm film camera by ex BBC cameramen Brian Tufano and David Whitson

{{Authority control}}

Category:German companies established in 1917

Category:Manufacturing companies established in 1917

Category:Film and video technology

Category:German brands

Category:Manufacturing companies based in Munich

Category:Movie camera manufacturers

Category:Photography equipment manufacturers of Germany

Category:Recipients of the Scientific and Technical Academy Award of Merit