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2008Cameras (Film/Video/HD) forum

Operational differences between Arri SR1 and SR3 film cameras, with practical guidance for field use

18 years old. Gear and prices may have changed since.

What the thread found

  • The SR3 operates on 24 volts with electronic controls and LCD menus, while the SR1 runs on 12 volts with mostly manual operation
  • The SR3 typically includes built-in video taps, whereas SR1 cameras generally lack this feature and may require an external eyepiece tap
  • SR1 cameras function reliably between 9.5 and 12 volts and should use onboard batteries with a battery adapter plugged into the 4-pin XLR connector at the back
  • The SR1 has only one mounting thread at the bottom with a locator pin, and using excessively long camera screws can damage the main power board located beneath the thread
  • The main power board on SR1 cameras is vulnerable to water damage when moisture runs down the magazine and accumulates at the camera base
  • Early French-made SR1 cameras have a shutter design that slams to a stop in the viewing position, which is harder on the camera movement than the later German design where the shutter advances after the camera stops
  • Remote operation of SR1 cameras requires an 11-pin Fisher connector located left of the 4-pin XLR power plug, and the camera's main switch must be set to the second position
  • Low-mode brackets for the SR1 can interfere with the magazine engagement mechanism if mounted incorrectly, sometimes preventing proper magazine release
  • Video taps supplied with SR1 cameras typically split the image 50/50, making them relatively dark, and must be externally powered through the 11-pin Fisher connector
  • The SR1 is described as a robust and reliable camera suitable for challenging field conditions when properly maintained
  • The Aaton camera is less suited for harsh field conditions compared to the Arri, being more demanding of controlled environments

Depends on

  • Information based on cameras used in the 2000s; modern variants may differ
  • Early French SR1 models are more problematic than later German versions
  • Video taps supplied with SR1 cameras are limited in quality and do not cover super 16 format
  • Field experience shared represents individual operator perspectives rather than comprehensive testing

Parts

Low Mode

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