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Arriflex Arri
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The rate of technological change is so swift as to render today's best professional and consumer equipment obsolete almost instantly. In high-tech fields such as audio, video, film, and electronics, five years is tantamount to a geological age for the Earth. Film makers who've grown up in the "digital era," so to speak, have watched as the expanding technology of filmmaking has taken a route from "then" to "now" that illuminates 15 or 20 years of tremendous advances.

Experienced directors and cinematographers have shot film with everything from an Arriflex 535B to Super8, and have recorded video in nearly every gauge and format, from big HD cameras like the VariCam and Sony CineAlta to old VHS-C camcorders. For many veteran directors, it was the results they got with a good film camera that taught them what to look for in a video camera when newer technologies began to surface. The Arriflex 535B, then, is a perfect object for study, standing as it does at the nexus of film and video technology.

A 35mm and Super 35mm camera, the Arriflex 535B was developed by ARRI, the largest manufacturer of motion picture equipment in the world, founded in Munich, Germany in 1917. Debuting in 1990, the camera was designed to be fully compatible with the 535 product line, and its basic version provides every essential function of a modern production camera. Although lighter and smaller than the 535, the 535B is able to use the complete range of 535 accessories.

The redesigned, modular viewfinder system of the Arriflex 535B, like its predecessor's, can be pivoted on two axes to allow viewing from each side. A beam splitter is employed to attach a 1/2" video camera CCD, and the whole viewfinder system can be removed and replaced without tools.

The film transport of the 535B, ARRI's seven-link movement with dual registration pin and pull-down claw, ensures operational quietness and image steadiness. Crystal-controlled frame rates range from 3 to 60 fps and fixed adjustments of 24, 25, 29.97, and 30 fps are selectable.

Essential information, such as film stock, battery voltage, frame rate and time code are clearly displayed on the left side of the camera. The ergonomic grip system's central crossbar can be used as a carrying handle, and also connects to such accessories as mini-monitors and booster lights. Although the camera is too large for POV use, if a low camera profile is needed the entire grip system can be removed.

Film magazine operation was revised to enable manual take-up of film slack using the 535's two coaxial magazines (400 and 1000 ft.). The 535B accommodates such modular accessories as programmable format markings, a viewfinder extension with integrated magnifier (available in two lengths) and a plug-on display that rotates for all-side viewing.

The Arriflex 535B is a well-built, programmable 35mm mirror reflex universal camera boasting the utmost in analog film technology - but, being on the cusp of the digital era, ARRI did make data input possible via an optional Camera Control Unit (CCU-1). At just under 31 lbs. with filmless magazine, the 535B is not made for POV or handheld shooting, but its dependability and beautiful film output ensure that we will be watching movies made on it, and its siblings, for a long time to come.

This article provided by Scott McQuarrie representing EZWatch Pro Video Surveillance, a leading provider of security cameras and video security systems for any application. The EZWatch Pro brand has come to stand for world-class expertise in electronic security, video surveillance and the myriad technologies involved in both fields. From small business to gigantic international airports, there is an EZWatch Pro solution to meet any and every business, school and government security challenge.

Rotary disc shutter

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When the shutter is open, the film is exposed. When it closes, the next frame of film is brought into position by the claw.

Adjusting the shutter angle affects the amount of time that film is exposed to light.
A rotary disc shutter is a type of shutter. It is notably used in motion picture cameras.
Rotary disc are semicircular mirrors which rotate in front of the film gate, and thus expose the film. As the mirror spins it reflects the image into the ground glass so that it can be viewed by the camera operator part of the time. The other part of the time the mirror allows the light to pass on to the film. On simple cameras this shutter is fixed and usually semi-circular. On more advanced cameras the shape of the shutter can be adjusted. This shutter setting is referred to as the shutter angle.
Adjusting the shutter angle controls the proportion of time that the film is exposed to light during each frame interval. The angle of the shutter forms a proportion to the time that each frame of film is exposed:

The primary reason that cinematographers adjust the shutter angle is to control the amount of motion blur that is recorded on each successive frame of film. A tight shutter angle will constrict motion blur. A wide shutter angle will allow it. A 180 shutter angle is considered normal.
Tight shutters create a stuttering stop motion animation look that has become popular in action and war films. In particular tight shutters are used to capture particles flying through the air, such as dirt from an exploding mortar.
On most film cameras the shutter angle is changed by removing the lens and adjusting the shutter with a special tool. This cannot be done while the camera is operating. Some cameras such as the Arriflex 435ES can modify their shutter angle during the shot. This is sometimes referred to as an electronic shutter. An electronic shutter can compensate for the exposure change caused by a speed ramp without changing the aperture and affecting depth of field.
Other types of shutter adjustment such as an out-of-phase shutter, and a fluttering shutter are also possible. Normally the film is held steady in the gate whenever it is exposed to light. Special shutter adjustments allow the film to be exposed while the camera mechanism is actually moving the film to the next frame. In the film Saving Private Ryan, cinematographer Janusz Kaminski used such a shutter adjustment to give his film the look of World War II newsreel photography. Previously, this effect could only be achieved by purposefully mis-adjusting the timing belt of the film advance mechanism in the camera. However, several manufacturers now provide accessories to electronically control the phase relationship of the shutter and film advance mechanisms. One such device is the Timing Shift Box available for the above mentioned ARRI 435 series.
Electronic equivalent
Many video cameras also provide the ability to adjust their shutter. In most cases the camera does not have an actual mechanical shutter. Instead, this adjustment controls the amount of time that the electronic sensor collects light in order to create each successive image. Because electronic cameras do not need to mechanically advance film, it is possible for the shutter to be open for nearly the entire period of each successive frame. At 24 frames per second, it is possible to expose a frame for nearly 1/24th second, achieving longer motion blur otherwise impossible to achieve on film at sync sound speeds.
The term electronic shutter is often used to describe the electronic process of controlling exposure time on a light sensor. The same term is also used in film cameras to refer to a mechanical rotary shutter which can adjust its shutter angle electronically while shooting.
Rotary shutters on still cameras
While the vast majority of rotary shutters are naturally used on motion-picture cameras (as well as projectors), there were some still cameras that employed this type of shutter, notably the Univex Mercury and the Olympus Pen F SLR. Both of these cameras were half-frame 35mm cameras (frame size 18 x 24 mm). The rotary shutter proved to be very simple to construct, accurate and reliable in these cameras, though in the case of the Univex it resulted in a very strange "hump" on top of the camera to cover the shutter disk.
See also
Shutter (photography)
Shutter speed
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