Moviemaking is the most collaborative of arts, and it brings together a spectacular array of talented people who share one common goal—to create the best motion picture they are capable of making. Regardless of their talent, veterans of the process are the first to tell you that success or failure depends to a large degree on choosing the right equipment for the job and getting the best performance from that equipment.

There is little debate that the single most important element of movie- making equipment is the motion picture camera. Not all cameras are created equal, though, at least as far as the independent moviemaker is concerned. Why do directors of photography and their assistants inevitably favor one camera system over another? Their reasons are almost always based on hands-on experience, and of course what their budgets have allowed.

The following survey could not include every camera available on the market, but the consensus clearly shows that certain cameras and models are preferred by working indie professionals. It isn’t a surprise to find that Arriflex and Panavision still reign supreme, but this article gets a bit more personal, with several working Los Angeles-based D.P.’s, operators, and assistants reflecting on why they are loyal to their favorite equipment. Not every aspect of the camera systems mentioned is discussed. We prefer that readers form their own conclusions and contact the various camera companies, as listed at the end of this article, to request literature on the cameras they believe best fits their needs.

Director of Photography Michael Hofstein (above) has many years of experience as an independent moviemaker. His travels have taken him around the world, and his list of U.S. and European credits is impressive. His revered article, “Preparation of Motion Picture Cameras,” has appeared in the American Society of Cinematographers manual (bible) since 1980. Even with his busy schedule, Michael finds time to teach at the International Film and TV Workshop in Rockport, Maine, each summer.

“What it comes down to is that I will use the best camera for the job, although I prefer Arriflex and Panavision. For 16mm it’s always the latest Arri SRIII. The camera itself is compact, easy to use, easy to set up and maneuver. The viewing system is bright, so you can see clearly. It works in all conditions, whether you’re in a desert or a jungle. I also prefer to use Zeiss high-speed lenses, because to me there’s nothing better. For a non-sync camera, and even though they stopped making them in the ’70s, it’s the Arri SB for me. It’s still a wonderful camera. It’s great for shooting high-speed and for Second Unit. I bought it because it’s so versatile. The Arriflex 535 is a good camera and I personally prefer the “B” model. It’s easy to use and has just enough features to get the job done with relative ease. As far as my favorite camera, it would probably be the Arri BL4S which is no longer made, although it’s still available. The 535 took its place. But the original BL4S was so easy to use. It was easy to change the magazines from 1,000 foot to 400 foot for hand held. It was always dependable. The cameras would work well and adapt well to all situations. To sum it up, the 535 comes down to one thing - ease of operation.

“I think that the Panavision Platinum 35mm is a great camera which also has a great viewing system. The camera itself is very quiet. It’s a hearty camera which can be used in all sorts of situations. Primo lenses, which were developed by Panavision, are the best with Panavision equipment because they’re crisp and clear. The Platinum has an excellent film system. The film will go through the camera easily and land solidly in the gate each time. Panavision makes a superb 16mm product which I feel is equal to Arriflex. I’ve worked in places all over the world. In Germany I’m more apt to use Arriflex because that’s where they’re manufactured. In my professional opinion, though, the quality of Arriflex and Panavision is so excellent it’s difficult to choose one over the other.”

Ariel Benarroch (pictured below right) is a young man from France who spent eight hectic years as an assistant before recently achieving the status of Director of Photography. Ariel’s credits include music videos, commercials and features, and working on Titanic as a Second Unit AC. Now based on the West Coast, his latest feature as DP is The Deviant.

“Even though I favor the Moviecam Compact, I believe that a camera is a camera. If you’re shooting a movie, you can always get a basic image. Often it’s who’s behind the camera that really matters. Personally, I enjoy the Moviecam Compact with Zeiss PL mounts because it will easily switch to Panavision mounts. It feels great in a hand-held mode and it’s very, very quiet. It may be a little more assistant-friendly because the movement is simple, compared to an Arriflex 535. I also find the Moviecam Compact’s viewing system excellent. It goes from standard to Steadicam mode in a simple, straightforward way which makes it easy to operate. It’s a sturdy, lightweight, camera, and simple for the assistant. Of course different camera systems will be more appropriate for different situations. Depending on yours, you’ll lean more toward one camera or another. If you need more tricks or in-camera effects, such as speed changes, shutter angle changes, and so on, or if you are operating from a precarious position, the Arriflex 535 with swing-over viewfinder will make it fairly easy to operate the camera no matter what position you’re in.

“Arriflex makes an excellent product, as everyone knows. I also think the Aaton 35 is a dependable camera. It is extremely lightweight and good for mostly hand-held exteriors. It can sometimes be a bit too loud for stage work, so keep that in mind. Also, it will only take 400-foot magazine loads, which can be limiting. For 16mm, I like the Aaton XTR Prod. It has the quietest movement on the market and there is virtually no magazine noise. It has a beautiful viewing system, and it’s less likely you’ll have hairs stuck in the gate because of the way it’s milled. It will also switch from basic 16 mode to Super 16 quick and easy. If you are using a time code, the XTR Prod is clearly the best because the code is imprinted from the camera and not the magazine. The video assist system on the XTR Prod is very sturdy and tends to give you brighter issues/29/images.

“The bottom line is the eye looking through the camera, and not the camera that is being looked through. You can make a masterpiece with a Mitchell Standard and you can make crap with a Millennium. The vision of the cinematographer and the director and their ability to put that vision on film to tell a story will always be more important than the camera itself.”

“The camera I still enjoy the most is the Arriflex BL4 and 435. In my experience there is nothing better about Arriflex equipment than Panavision’s. I have worked with Arriflex so much, it’s what I was trained on, it’s what I started with, and it’s what I’m comfortable with. The Arri III is an excellent camera. It’s a workhorse! There are rarely any problems with this camera. I’ve used it the most and it’s my personal favorite. It’s stood the test of time and has no drawbacks, as far as I’m concerned. The Arriflex 435 has all the best aspects of the Arri III but it’s newer and improved, of course. The Arri BL4 is a great camera, too. This is a personal preference. I just love Arriflex. As far as 16mm is concerned, the Arri SRII and SRIII are pretty similar to each other. I favor the SRIII over the SRII because it’s a newer camera and more sophisticated. It has the same basic movement, same basic weight, and a tried and true design. The electronics and the optics are the big improvement with the SRIII. I’ve been using Arriflex for quite a few years now and it does everything I need it to.”

For 21 years Tom “Frisby” Fraser (pictured at right) has built a career as a D.P. and Camera Operator. Tom’s many credits include TV shows (“A Family Torn Apart,” “Ally McBeal,” “Silk Stalkings,”), features (Armageddon, Top Dog, Midnight Confessions) and music videos (Tears For Fears, Billy Joel, Guns and Roses).

Tom Denove is a Director of Photography who shot his first feature at age 19. His credits are extensive; he’s shot over 40 features through the years, the likes of Midnight Witness, The Crystal Eye, and Puppet Masters II. He has done scores of commercials and TV shows, and as Second Unit and F/X for “Star Trek: The Next Generation.” When he’s not working, Tom is teaching cinematography at UCLA several times a year. For his invention of the Cinemeter Light Meter he was honored with a technical Academy Award.

“I’ve been in the position where money was not a consideration and I’ve been on the other side of the fence when money was definitely a consideration. For me, it’s the Arri SRII, the most dependable camera around. Overall, that’s my main consideration - dependability. Years ago, being on shoots when the equipment didn’t work, or would suddenly break down, was a nightmare. But the SRII is like a tank; it’s a workhorse. The Aaton is a good camera, too; it has a lot of neat features. You can take a camera that is 50 years old and put some good glass on it and no one will see the difference on the screen.

“With cameras, the main objective is to have a steady image and a clean picture, and the camera will give you the steady image. Sometimes if you go for a newer camera with all the bells and whistles, the electronics can be complicated. The automatic speed of the aperture control, etc., could be one more thing that is problematic because you are adding to the complexity of the camera. You have to look at the bottom line - which is more important, a better camera or better lenses? I like more weight in the lenses. An Arri BLIII or a 535…what’s the difference? Maybe a little more noise level and some bells and whistles.

“I think that Panavision also makes a good camera, but the big difference between Panavision and Arriflex is often the rental house and how the equipment is maintained. I’ve used Moviecam, I’ve used Panavision and I’ve shot with Ultracam, but my workhorse is still the Arriflex BL4 or the Evolution, which is a step above the BL4. I’ve shot 43 features. I’m able to improvise, take what I’m given and make it work to the point where the audience likes what it sees on the screen and doesn’t feel compromised. You don’t always get your first choice when dealing with budgetary problems and independent filmmakers. There may be newer cameras that are more user-friendly, but to me it’s the BL4. I’m more concerned with what I do than with the equipment.

“Some people feel that they need the best of the best to make a great movie. I disagree. Again, I’d rather put the money into the lenses. My philosophy is always to get the best camera you can, but there is usually a trade-off, and to me it’s all up to the rental house and how the equipment is maintained. The best camera package consists of the tools, and lenses are what make the package. For me, pound for pound and dollar for dollar I’ve always found Arriflex to be the best. Just give me a set of Zeiss lenses and I’m a happy camper!”

Director of Photography, Glenn Evans (pictured right) is originally from Portland, Oregon. He is a graduate of Brooks Institute of Photography in Santa Barbara, California, and specializes in underwater cinematography, although he also shoots on land. His many credits include an underwater commercial for Nike, and he shot the band Aerosmith underwater for the 1997 Billboard Awards Show. He’s shot numerous television shows, and features such as The Loch and Bloods. When asked about cameras, in particular the Star Cam, that might be right for the budget-conscious moviemaker in need of a practical, easy-to-operate camera at a savings over other popular cameras which dominate the market, this is what Glenn had to say:

The Star Cam is a relatively new camera system which is available in 16, 35 and 65mm formats. Although still at prototype stage, it has been received with a great deal of enthusiasm by many DP’s who have used it. It is lighter than the Arri BL, and almost equal to the weight of a Moviecam Compact. The Star Cam 65mm MOS format is the lightest 65mm camera in the world, which makes it ideal for hand-held and Steadicam work. The 35mm Star Cam can be used in any format, i.e. Super 35 or anamorphic, etc., and the Star Cam 16 can go from standard 16 to Super 16 format as well. It has a four-color glow system (red, yellow, green and white), and six different ground glass formats which you can change manually. Set-up time is about 10 seconds when you switch from tripod to hand held and back to tripod.

First AC Kevin O’Connor moved from Arizona to attend the Brooks Institute of Photography in Santa Barbara. After graduation, he soon found work within the motion picture industry working as a First or Second AC on features including Burn, which won the Slamdance Award for Best Picture, Dream with the Fishes, and Steel Sharks. He also has numerous music videos and commercials to his credit. Kevin spoke to MM about a new 35mm “crash camera” called the Crash Cam.

“I enjoy work- ing with Arriflex. I find them simple to put together, simple to load, simple to operate. They serve my purpose and give me a quality image. They’re also easy to maintain and their design application works wel in the studio and on location. If you’re filming stunts or working with explosives, I like the new Crash Cam, which has a super-strong housing that contains a 35mm Reflex camera (also available in Super 16, Super 35, anamorphic, with standard PL and Panavision mounts). It comes with an eye-piece videotap and a personal four-inch attachable/detachable LCD mini-monitor on back of the housing which makes framing shots easy. The housing is 1/4 ti 1/2-inch steel, and the whole unit weighs approximately 50 pounds, which is great. For me, there’s a lot of punch for this product. It makes other crash cameras look like toys. MM

Both the Star Cam and the Crash Cam are available only at Hollywood Camera, Inc. in Burbank, California. Call for information on their monthly hands-on seminars. For further info and literature on the cameras mentioned in this article:

Arriflex
600 North Victory Blvd.
Burbank, CA 91502
(818) 841-7070

Aaton
c/o Abel Cine Tech, Inc.
4110 Magnolia Blvd.
Burbank, CA 91505
(818) 972-9078

Panavision
6219 DeSoto Avenue
Woodland Hills, CA 91367
(818) 316-1000

Moviecam
c/o Hill Production Service
6902 West Sunset Blvd.
Hollywood, CA 90028
(213) 463-1182

Star Cam and Crash Cam
c/o Hollywood Camera, Inc.
3100 Damon Way
Burbank, CA 91505
(818) 972-5000

Justin Clayton’s writings have been published in various entertainment magazines. His credits include profiles on celebrities such James Dean, Marilyn Monroe, and other film-related subjects, as well as an expose on the making of the 1933 classic, King Kong.