ARRI ARRIFLEX 416 User manual

ARRI ARRIFLEX 416 User manual
Quiet, Bright and Light
35 Format Features in a Super 16 Camera
Continuous advances in lenses, film stock and postproduction
technologies have elevated the Super 16 film format to new levels of
image quality and production efficiency. Super 16 is now routinely
used for standard and high definition television productions, feature
films, commercials and documentaries, and with stunning results.
By shooting Super 16, productions gain many of the advantages
of shooting film - the film look, its unsurpassed exposure latitude,
natural color reproduction, variable camera speeds, ramps, proven
archivability and the fact that film is the only globally accepted
standard format - at affordable production costs. The small size and
light weight of Super 16 equipment has the extra benefit of easy
portability for fast-paced production environments.
In response to market demand, ARRI is offering three new Super
16 cameras: the ARRIFLEX 416, 416 Plus and 416 Plus HS. Based on
years of camera engineering, market research and focus groups with
renowned industry professionals, the ARRIFLEX 416 cameras make
features previously only found in high end 35 mm cameras available
to Super 16 productions.
All three ARRIFLEX 416s are lightweight, modern Super 16 film
cameras, each with a 35-style viewfinder and a mirror shutter that can
be manually adjusted from 45 to 180 degrees. The 416 and 416 Plus
have an amazingly low sound level similar to that of the ARRICAM.
Their speed range is from 1 to 75 fps, while the 416 Plus HS runs
from 1 to 150 fps. A completely new lightweight ergonomic design,
integrated electronic accessories in the Plus cameras and compatibility with the same lenses and accessories used by their 35 mm siblings
make the 416 cameras the most powerful, flexible and portable Super
16 cameras ever built.
n Three Models
basic model
· ARRIFLEX 416 Plus
built-in accessory electronics and radio
for wireless remote control
· ARRIFLEX 416 Plus HS
high speed for slow-motion effects with
built-in accessory electronics and radio
Main Features
n The Quietest 16 mm Camera
· 416 & 416 Plus:
sound less than 20 db(A)
n High Quality Video Assist
· improved image quality
· adjustable image enhancement
n 35-style Viewfinder
· brighter, higher contrast, higher resolution
· bigger exit pupil allows more eye movement
· multi-color RGB ARRIGLOW
· accommodates even wide diameter PL mount lenses
· excellent optical quality with eyepiece extension
n Compact & Lightweight
· small camera body
· low profile design
· 25% lighter than 16SR 3
n Ergonomic Design
· ergonomic shoulder cut out
· viewfinder removes quickly for Steadicam and remote applications
· optional integrated radio & lens motor drivers
· split bridgeplate for fast switch from tripod to shoulder
I Can See Clearly Now
To capture the images you want, you have first to see them clearly.
So viewfinder quality is crucial if an operator is to accurately appraise images, especially with 16 mm. The optical viewfinder on the
416 cameras makes it easy to judge focus, create a precise image
composition, and work comfortably and efficiently.
The viewfinder optics have been redesigned from the ground up,
incorporating fewer lens elements of higher quality and a shorter
optical path. The results are significantly higher contrast, higher
resolution and a brighter image. With the 416 cameras, judging
focus on the set becomes a lot easier, and unpleasant surprises
during dailies a lot less likely.
The 416 cameras' viewfinder ergonomics are based on the
ARRIFLEX 235 viewfinder so they share the same freedom of
movement and features. The 416 viewfinder can be freely rotated,
extended or flipped to the other camera side for comfortable
viewing in any camera position. Image orientation can be set
automatically or manually and medium or long eyepiece extensions
can be used with no loss in image quality. Since the 416 cameras'
viewfinder has a large exit pupil, the operator has more freedom
to move without losing the image - a great advantage when going
hand held, shooting action sequences or executing complex dolly
moves. In contrast to their predecessors, the 416 cameras accept
large diameter 35 format primes, including the new Master Primes,
because their viewfinder is located higher above the lens mount.
The ARRIFLEX 416 cameras' optical viewfinder uses a completely new optical design,
resulting in significantly higher contrast,
higher resolution and a brighter image.
light path inside camera body
light path inside viewfinder
u Mirror Shutter
x Video Assist Beam Splitter
A half-moon shaped mirror rotates
in front of the film gate at the
camera speed. Half of the time the
mirror covers the film and the light
from the taking lens is reflected
up into the viewfinder. During that
time, the film is transported one
frame further. The other half of
the time the mirror leaves the light
path open, so the light from the
taking lens is projected onto the
film, exposing an image. Since the
mirror's function is to both reflect
and shutter light, it is known as a
"mirror shutter".
80% of the light passes straight up,
while 20% is reflected to the side
and projected through the video
assist optics (not pictured) onto the
video assist CCD sensor.
v Fiber Optic Screen
ao Mirror
The light from the lens is projected
onto a screen (a fiber optic screen
in the 416 cameras), which acts
as a rear projection screen. This is
where the viewfinder image forms.
Red green and blue LEDs are situated on an electronics board above
the partial mirror.
ap Protective Glass
w Field Lens
The field lens (named as such
because located close to the
image field) refracts the light into
the entrance pupil of the primary
viewfinder lens and the video assist
y Supplementary Lens
U Protective Glass
An optically clear glass plate on the
top surface of the camera body protects the components underneath
from dirt contamination.
V Supplementary Lens
X Partial Mirror
The light from the fiber optic screen
is reflected into the viewfinder.
At the same time, the light from
the ARRIGLOW LEDs above is let
through. This light is then reflected
off the frame line markings on the
fiber optic screen, providing illuminated frame lines when needed.
at 90 Degree Prism
ak Primary Lens
Picks up the image from the fiber
optic screen.
al Mirror
am Pechan Prism
Automatically keeps the image
upright when the viewfinder is
rotated. Also allows for manual
image rotation.
an Secondary Lens
Provides the image for the eyepiece.
Located at the mechanical interface
to the eyepiece or eyepiece
extension, this protective glass
prevents dust from getting into the
viewfinder optics.
aq Eyepiece
The eyepiece allows the operator to
view the image. It also provides a
focus adjustment of approximately
+/- 3 diopters.
Advantages of Optical Viewfinders
Optical viewfinders, as used in all ARRI cameras, provide by far the most
comfortable, accurate and efficient way to work when capturing images.
Operators see a bright and sharp, full color image and are able to accurately
judge focus. By their very nature, optical viewfinders have zero delay, showing
exactly what is happening, right when it is happening.
Optical viewfinders show an area larger than the image recorded on film,
ensuring that microphones, light stands and other debris do not make an appearance in frame, thus minimizing the need for re-takes and saving precious
time on the set. Operators also find this extra area around the image crucial
for precise composition and exacting camera movements.
In addition, optical viewfinders work without power, are less fatiguing
to the eye than electronic viewfinders and can be equipped with a range of
accessories such as medium and long eyepiece extensions, eyepiece levelers
and heated eyecups. A large exit pupil ensures that the operator has more
freedom to move without losing the image.
How Does an Optical Viewfinder Work?
An optical viewfinder is essentially a small rear projection screen and a magnifying glass. The taking lens projects light onto a screen; for 16 mm cameras
this is usually a fiber optic screen, while for 35 mm cameras it is usually a
ground glass. An image is formed on the screen. The screen has a specifically
chosen granularity that allows the operator to precisely judge focus and depth
of field.
The rest of the viewfinder is a very sophisticated magnification apparatus
that allows the operator to view this image properly. Since the image on
the screen will be magnified about 8 times by the viewing system before it
reaches the human eye, high quality viewfinder optics and precision assembly
are crucial. Through the use of mirrors and prisms the viewfinder can be
re-oriented freely in space, allowing the operator to see an upright image
irrespective of how the viewfinder is positioned.
A small part of the light in the viewfinder is split off and directed to a CCD
sensor, which creates a video image - the so called "video assist" - allowing
others besides the operator to see the image.
The specific light path pictured here is from the ARRIFLEX 416 cameras,
but it is similar in principle to that of all optical viewfinders.
With the new RGB ARRIGLOW, you can choose any color you like. Set evenly
or yellow for blue skies. You can, of course, also mix your own ARRIGLOW
Integrated Video Assist
The 416 cameras' viewfinder is accompanied by a video assist with the same
features and image quality as the highly praised ARRICAM and 435 integrated
video assists (IVS). This video assist is closely integrated into the camera body
to keep the overall camera size small and slim. It also features some added
benefits like color bars, adjustable electronic image enhancement, manual
white balance and a ground fault warning.
Using the same optical layout already proven in the ARRIFLEX 235, viewfinder and video assist are independent of each other. This makes a switch
from handheld to Steadicam very fast and eliminates the need for a 100% video
top. Additionally, two 12V accessory outputs on the video assist can power an
on-board monitor and a video transmitter at the same time.
High quality video assist
illuminated framelines in magenta when shooting green screen, red for jungle
HDTV 1.78
HDTV 1.78
Old 16 mm Camera Viewfinder Image
ARRIFLEX 416 Viewfinder Image
n Higher contrast, higher resolution, brighter image
n Easier to judge focus on the set
n Excellent optical quality with eyepiece extension
Mix Your Own RGB ARRIGLOW Color
n Use magenta for green screen
n Red for jungle
n Yellow for blue skies
n Mix your own grey
HDTV 1.78
HDTV 1.78
HDTV 1.78
HDTV 1.78
The Sound of Silence
The 416 cameras use a completely new sound insulation design that makes the 416
and 416 Plus as quiet as an ARRICAM and allows the 416 Plus HS to record a very
stable image even at higher frame rates. An inner skeleton is suspended by symmetrically positioned rubber insulators in an outer shell. The camera's movement and
other parts that create vibrations - and thus unwanted sound - are mounted to the
inner skeleton. The insulators prevent any sound from the inner skeleton radiating to
the outer shell. The symmetrical positioning of the insulators ensures that the flange
focal distance stays constant so there is no change in depth from heat or cold.
The 416 magazine is powered by a brushless silent torque motor; there is no
noisy mechanical linkage between camera and magazine. And just like the camera,
the 416 magazine consists of an inner skeleton and an outer shell separated by
rubber insulators, making it the quietest 16 mm magazine ever built.
When working with a truly silent sync sound camera, directors and actors can
concentrate on the performance and crews can concentrate on the action. How
much time has been wasted on sets dealing with camera sound problems? With a
sound level of less than 20 db(A), the ARRIFLEX 416 and 416 Plus are so silent that
sound recordists will be asking the same question they ask when working with the
ARRICAM: is the camera really running?
The camera body's inner skeleton is held by rubber
insulators to prevent sound from radiating.
u body outer shell
v body inner skeleton
w body rubber insulators
x magazine outer shell
y magazine inner skeleton
U magazine rubber insulators
The magazine is driven by an internal silent motor and
uses the same insulating technique as the camera body,
ensuring completely quiet operation.
ARRIFLEX 416 Models
Super silent and equipped with
basic electronics
Super silent & flexible with built-in accessory electronics
and radio for wireless remote control
Super fast for slow-motion effects with
built-in accessory electronics and radio
for wireless remote control
Speed Range (fps)
1 - 75
1 - 75
1 - 150
Sound (dbA)
< 20
< 20
< 29
Weight (Kg/Lbs)
Integrated Accessory
Body, viewfinder, loaded magazine, video assist
Compact, Lightweight and Fast
One of the reasons cinematographers and producers with demanding schedules
choose to shoot Super 16 is the faster production pace afforded by smaller and
lighter equipment. A Super 16 camera fits into any location, can be mounted
to almost anything and can be quickly used on the shoulder. The 416 cameras
further increase this portability, while providing many of the features crews have
come to expect of 35 mm cameras.
The 416 weight has been reduced by an amazing 25% in comparison to the
16SR 3, when comparing a configuration including body, viewfinder, IVS and
magazine. When comparing the 416 Plus to a 16SR 3 with UMC-3, the difference
is even greater. The 416 cameras' shape has been designed to make them as
compact as possible and to give them a low profile. At the same time shape and
weight are perfectly balanced for comfortable shoulder operation.
A lot of thought has been put into the ergonomics of having to work quickly
and safely on a film set. The new magazine, as well as the new on-board battery,
can be swiftly removed with one hand. The cameras new front shape makes
attaching lens accessories easier and faster.
For slow-motion sequences the 416 Plus HS runs up to 150 fps, while still
using the same magazines as the 416 and 416 Plus. To avoid the clutter of extra
boxes and cables, the 416 Plus and 416 Plus HS have lens motor electronics and
a wireless radio directly integrated into the camera body.
Last but not least, there is the new split bridgeplate. The cameras can be
removed from a zoom lens/tripod configuration in two quick steps: open the lens
mount, split the bridgeplate and the camera slides off. The second assistant can
then dismantle the zoom lens while the operator is already shooting handheld.
416 Built-In Accessory Electronics
n Reduce clutter through
accessory electronics
integrated into camera body
n Lens motors plug directly
into camera
n Wireless remote control
without extra boxes
416 Split Bridgeplate
n Elevates 416 to proper height for accessories
n Fast switch from tripod to shoulder
PL Mount and Lenses
The 416 cameras use the industry standard 54 mm stainless steel PL mount. The
stable backfocus afforded by the PL mount and by the robust camera construction
is a hallmark of all ARRI film cameras.
The PL mount makes the vast selection of high quality lenses for the Super
16 and 35 mm formats available to the ARRIFLEX 416 cameras. This includes the
Master Primes, which combine the highest optical quality with a super fast stop of
T1.3, as well as the Ultra Primes, the modern prime lens set with the widest focal
range from 8 to 180 mm. It also includes all the specialty lenses available only for
super wide range, fisheyes, extreme telephotos, shift & tilt lenses, tilt focus lenses,
reverse perspective lenses, squishy lenses and so on.
A complete set of new T1.3 prime lenses has been developed specifically for
the Super 16 format: the Ultra 16 lenses. With focal lengths of 6, 8, 9.5, 12, 14, 18,
25, 35 and 50 mm, the Ultra 16 lenses cover the whole range typically required by
a production. They are a perfect match for the 416 cameras, exhibiting the same
resistance to flare as the Master Primes and giving unprecedented image quality
even when opened to their maximum aperture of T1.3. Their high speed creates
shallow depth of field and allows shooting on tight lighting budgets or under
severe time pressure.
The 416 uses the industry standard PL mount.
This affords stable backfocus and an unparalleled selection of lenses.
film cameras, such as macro lenses, super long telephoto zooms or zooms with a
The Ultra 16 lenses: 6, 8, 9.5, 12, 14, 18, 25, 35 and 50 mm, all T1.3
The Ultra Primes: T2.8/8, T2.1/10, T2/12, T1.9/14, T1.9/16, T1.9/20, T1.9/24, T1.9/28, T1.9/32, T1.9/40, T1.9/50, T1.9/65, T1.9/85, T1.9/100, T1.9/135 and T1.9/180 mm
Control and Power
The simple to use control panel on the 416 range should be familiar to
anyone who has ever worked with a modern ARRI camera, since the 416
cameras have inherited the 235's control panel design and illuminated
buttons. All three 416 cameras can therefore be operated without further
training and the setting of any operating parameter can be accomplished
quickly and intuitively.
The powerful and smart Lithium-ion OBB-2 on-board battery can run
up to five magazines while keeping camera and video assist in standby for
more than two hours. With a built-in power gauge the state of an OBB-2
can quickly be determined, and since the OBB-2 communicates with the
camera, the 416 cameras can accurately display the battery's current
voltage, remaining capacity or how many more magazines the battery's
charge will run. A quick change mechanism, which can be easily operated
with one hand, is integrated into the cameras' bodies and reduces overall
The same familiar controls found on the 235, 435 and 535 have also been used for the 416.
The OBB-2 connects to the 416 cameras through a new,
but backwards-compatible power connector.
The 416 Camera System
The ARRIFLEX 416 cameras are complemented by a range of new and existing
accessories that follow the same design philosophy used in the creation of the
416 body and magazines: increasing efficiency on the set.
Two handles have been designed: one for normal use, one for remote. These
include such details as a flip-up tape hook and different height platforms for
Steadicam and for under-slinging the camera on a remote head. Lens motors
or lightweight follow focus units can be mounted on the camera left side with
the help of the Left Rod Bracket LRB-2. Like the 235, the 416 cameras have
extra 3/8" attachment points with locating pin holes for twist-free attachment of
accessories or extra secure rigging.
The 416 cameras are compatible with most of the accessories used by
their 35 mm siblings, including the ARRI Remote Control Unit RCU-1, External
Display EXD-1, Wireless Remote System, Wireless Remote Control WRC-1 &
WRC-2, Universal Motor Controller UMC-3, Iris Control Unit ICU, Electronic
Synchronization Unit ESU, most follow focus units and matte boxes. They
have also inspired some new accessories, including the Heated Eyecup HE-5,
which automatically closes its iris when the operator is not looking through the
Technical Data
Speed can be varied while camera runs
Ramps possible with Remote Control Unit RCU-1, Wireless Remote Control WRC-1, WRC-2 and Iris Control Unit ICU-1
Manually adjustable to: 45, 90, 135, 144, 150, 172.8, 180 degrees
Film Format
Super 16 mm, conforming to DIN 15602 and ISO-5768-1998
Film Gate
Super 16 only (12.35 x 7.5 mm, 0.486 x 0.295 inches)
Lens Mount
54 mm stainless steel PL mount
< 20 db(A) @ 24 fps
Flange Focal Distance
52.00 mm -0.01
Silent precision movement, single pull down claw, single registration pin. Pull down pitch adjustable
Viewfinder Eyepiece
Same 8x eyepiece as 235
Eyepiece Extension
Same short and medium extensions as 235
Ground Glass
16SR 3 fiber optic screens
RGB ARRIGLOW with custom combination of red, green and blue, separate brightness control on camera left side
5.5 Kg / 12.1 Lbs
Power Input
<29 db(A) @ 24 fps
5.8 Kg / 12.8 Lbs
24 Vdc nominal, accepts 21 to 35 Vdc
Intelligent 29.6V Lithium-ion On Board Battery OBB-2, lasts 5 magazines and about 2 hours in standby
80 Watt/hours at 950 g / 2 Lbs with built-in power gauge
(comparison: 16SR 3 battery had 29 Watt/hours at 870 g / 1.9 Lbs)
1x 24V RS connector on 416, or 2x 24V RS connector on 416 Plus & 416 Plus HS
Accessory Power Outputs
1x 24V REMOTE connector
1x 24V Heated Eyecup connector
2x 12V MINI MONITOR connectors on IVS
Temperature Range
-20°C to +50°C (+4°F to +122°F)
416 Shoulder Magazine 120/400 (SHM-3), Timecode module optional
Continuous barcode on film edge, 80 bit according to SMPTE RP 114 (same as on 16SR 3)
Timecode & Userbits window burn in and VITC on video assist possible
Camera body, viewfinder, eyepiece, IVS, magazine and film
All data subject to change without notice.
Arnold & Richter Cine Technik (Headquarters, Sales & Service)
Türkenstraße 89, D-80799 Munich, Germany
Tel: +49 (0)89 3809 0, Fax: +49 (0)89 3809 1245
Great Britain
ARRI GB Limited (Sales & Service)
2 Highbridge, Oxford Road, Uxbridge, Middlesex, UB8 1LX, Great Britain
Imaging Equipment Sales: Allan Fyfe, [email protected]
Tel: +44 (0)1895 457 000, Fax: +44 (0)1895 457 001
ARRI Italia S.r.l. (Sales & Service, Milan)
Viale Edison 318, 20099 Sesto San Giovanni (Milano), Italy
General Manager: Antonio Cazzaniga, [email protected]
Tel: +39 (02)262 271 75, Fax: +39 (02)242 1692
ARRI Italia S.r.l. (Sales & Service, Rome)
Via Placanica 97, 00040 Morena (Roma), Italy
Camera Sales: Mauro Sembroni, [email protected]
Tel: +39 (06)79 89 021, Fax: +39 (06)79 89 02 206
ARRI Inc. (Sales & Service, East Coast)
617 Route 303, Blauvelt, NY 10913-1109, USA
Vice President: Jürgen Schwinzer, [email protected]
Tel: +1 (845)353 1400, Fax: +1 (845)425 1250
ARRI Inc. (Sales & Service, West Coast)
600 North Victory Blvd., Burbank, CA 91502-1639, USA
Vice President: Bill Russell, [email protected]
Tel: +1 (818)841 7070, Fax: +1 (818)848 4028
ARRI Canada Limited (Sales & Service)
415 Horner Ave. Unit 11 & 12, Toronto, Ontario M8W 4W3, Canada
Accounts Manager, Camera & Digital Systems:
Sébastien Laffoux, [email protected]
Tel: +1 (416)255 3335, Fax: +1 (416)255 3399
ARRI Asia Limited
Office 3B on 29/F, The Centrium, 60 Wyndham Street, Central, Hong Kong
General Manager: Paul Ivan, [email protected]
Tel: +852 9018 2066, Fax: +852 3755 6371
ARRI Australia PTY Limited
Unit 6C, 5 Talavera Road, Macquarie Park NSW 2113, Sydney, Australia
General Manager: Stefan Sedlmeier, [email protected]
Tel: +61 (2)9855 4308, Fax: +61 (2)9855 4301
This ARRIFLEX 416 product brochure (K5.40459.0) is published by Arnold & Richter Cine Technik, April 01, 2008 © ARRI/2008
Technical data and offerings are subject to change without notice. All rights reserved. Without any warranty. Not binding 04/2008. ARRI is a registered trademark of Arnold & Richter Cine Technik GmbH & Co. Betriebs KG.
Arnold & Richter Cine Technik GmbH & Co. Betriebs KG · Türkenstrasse 89 · D-80799 Munich · phone +49 (0)89 3809 0 · fax +49 (0)89 3809 1245 ·
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