Arriflex 35 III (1979)
At 20lbs, it's no featherweight. That heft is the first sign you're holding a camera built for the front lines of film production.
Overview
The Arriflex 35 III arrived in 1979 as the direct successor to the Arriflex 35 IIC. It was the last of ARRI's long-running 35 II series. It wasn't a reinvention, just a refinement, built for reliability, precision and practicality in demanding shooting conditions. It was designed primarily as a MOS (motor only sync) camera, so the 35 III dropped the sound-recording complexities of sync-sound rigs and focused on ruggedness and optical clarity. The spinning mirror reflex system allowed through-the-lens viewing, which helped framing accuracy at a time when many cameras still relied on separate viewfinders. At 20lbs it's not portable by modern standards, but it was manageable on a shoulder mount or crane for second unit work where speed and durability mattered most.
It became a favorite as a second unit camera thanks to its crystal-controlled motor and brighter, orientable viewfinder. Those upgrades made it more versatile than its predecessor without giving up the mechanical toughness of the original 35 IIC. The variable shutter, adjustable from 15 to 135 degrees, gave cinematographers control over motion blur and exposure in changing light. It falls short of the 165-degree maximum found on later models (a limitation noted in general Arriflex documentation, but not confirmed for the III specifically). Despite the mechanical core, crystal sync at 24, 25, and 30 fps kept speed accurate, which was essential for effects work and ADR-heavy productions.
The 35 III supported 35mm 4-perf film and used interchangeable doors and ground glasses, so it adapted quickly to different film stocks and shooting conditions. It accepted magazines in 60 m/200 ft, 150 m/500 ft, and 300 m/1000 ft capacities, all using plastic cores. The camera's single-pin registration system was not as precise as three-pin designs. Some units were modified later for 2-perf or Techniscope operation, but the factory standard remained 4-perf.
Specifications
| Manufacturer | ARRI |
| Product type | 35mm spinning mirror reflex camera |
| Film format | 35mm, 4-perf |
| Shutter type | Variable shutter (adjustable from 15 degrees to 135 degrees) |
| Registration | Single pin registration |
| Features | Interchangeable doors and interchangeable ground glasses |
| Magazines | Available for 60 m/200 ft, 150 m/500 ft and 300 m/1000 ft of film on a plastic core |
| Weight | 20lbs |
| Crystal Speeds | 4-fps to 120-fps |
| Motor & Speed Control | Crystal sync at 24, 25, 30 fps |
| Reverse operation | Yes |
Key Features
Spinning Mirror Reflex System with Brighter Orientable Viewfinder
The core of the 35 III's appeal was its spinning mirror reflex design. The viewfinder was brighter than on earlier models and fully orientable, so operators could shoot from high or low angles without contorting themselves. That made it a favorite for second unit crews capturing action, inserts, or background plates where agility mattered.
Crystal-Controlled Motor for Speed Stability
It was rated for speeds from 4 to 120 fps, which covered time-lapse and high-speed effects work. Standard crystal sync at 24, 25, and 30 fps kept it compatible with broadcast and theatrical workflows. It wasn't designed for silent operation, but the motor was reliable and consistent. That mattered for visual effects compositing and multi-camera setups where sync integrity was non-negotiable.
Hinged Film Door with New Optics
A redesigned hinged film door came with updated optics, which contributed to the brighter viewfinder image and helped in low-light conditions. Combined with interchangeable ground glasses, this let cinematographers tailor the view to the contrast and grain of the film stock.
Interchangeable Doors and Ground Glasses
This modularity added to the camera's versatility. Different doors could be swapped to accommodate various magazine types or accessories, and ground glasses could be changed to match focus requirements when working with fast lenses or deep focus compositions.
Historical Context
Introduced in 1979, the Arriflex 35 III replaced the 35 IIC as ARRI's go-to MOS camera and was the final refinement of the 35 II lineage. It wasn't a silent camera, but its ruggedness and reliability made it a staple on productions where sound was recorded separately. The 35 series as a whole received an Academy Award of Merit in 1983 for pioneering the hand-held spinning mirror reflex design. It saw use on major films including *The Terminator* (1984) and *True Lies* (1994), often for second unit or action sequences. *Jaws* (1975) is listed in some sources as having used the 35 III, but that predates its 1979 introduction. It's likely a mix-up with the earlier 35 IIC.
Market Value
┌──────────────────────────────────────────────────────────────────────────┐ │ ARRIFLEX 35 III Nov 2026 │ ├──────────────────────────────────────────────────────────────────────────┤ │ High $4,097 Latest $4,097 │ │ Median $4,000 Trend — │ │ Low $404 Volume ~1/mo │ ├──────────────────────────────────────────────────────────────────────────┤ │ $5,000 ┤ │ │ │ │ │ │ . .│ │ $3,029 ┤ │ │ │ │ │ │ │ │ │ │ │ $400 ┤. │ │ ├─────────────────────────────────────────────────────────────────│ │ vol │█ █ █│ │ └─────────────────────────────────────────────────────────────────│ │ 2026-02 2026-05 2026-07│ └──────────────────────────────────────────────────────────────────────────┘
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eBay Listings
Recently sold on eBay: $404–$4,097 (median $4,000, based on 3 completed sales, past 12 months)
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Service Manuals, Schematics & Catalogs
- Catalog (1966) — archive.org