Every once in a while, a camera earns legendary status not just for its specs but for how it feels in a cinematographer’s hands. For us at YMCinema, the ARRI 235 is exactly that kind of camera, and if you watched Shane Hurlbut, ASC: Cinematography Tip of the Day, you already know why this thing is legendary for handheld work.
The mighty ARRI
In Shane’s video on Instagram, he riffs on why the ARRI 235 for handheld 35mm is such a game-changer: it’s insanely lightweight, conforms beautifully to your body, and can take a beating. Want to go low and roll the camera? This thing won’t jam. Want to chase the action without fatigue? The dolphin magazine design hugs your rig like it’s part of you. Watch the full clip on Shane’s IG below: (BTW, the ARRI 235 was Shane’s action camera weapon of choice in Terminator Salvation.)
Michael Bay’s preferred toy
Shane’s insights tie right back to the lessons we explore in our deep dive into Shane Hurlbut Film Exposure Masterclass where controlling motion, exposure and placement are critical to dynamic handheld storytelling. That article breaks down not just what Shane uses, but why he does it. Now, here’s where film nerds really lean in: this camera wasn’t just great in theory but was battle-tested on one of the biggest action franchises of the last two decades. In our retrospective on Transformers’ 15th Anniversary, we highlight how Michael Bay shot the majority of Transformers 3 with his own ARRI 235, a testament to the camera’s durability and action-ready design. That’s massive rigs and high-octane sequences, day in and day out. Check out the beast BTS:
Wrapping up
So, have we tried it? We haven’t just tried the ARRI 235; we love it. It’s a camera that feels like an extension of your body, a tool that invites kinetic energy rather than resists it. For handheld shooters who care about freedom of movement without compromising reliability, it’s a standout. In short, lightweight doesn’t have to mean low performance. Roll it, shoulder it, run it: the ARRI 235 was built for filmmakers who want to feel the shot, not just frame it. It’s one of the reasons this camera continues to be talked about, studied, and revered in cinematography circles, and why we think it’s one of the coolest cameras on the planet.
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