ARRI ARRIFLEX 416 User manual

ARRI ARRIFLEX 416 User manual
3 5 F O R M AT F E AT U R E S I N A S U P E R 1 6 C A M E R A
Advances in lenses, film stock and post production technology 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 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 film
being the only worldwide 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 introducing a new Super 16
camera, the ARRIFLEX 416. Based on years of camera engineering, market
research and focus groups with renowned industry professionals, the ARRIFLEX 416 brings features previously only found in high end 35 mm cameras
to Super 16 productions.
The ARRIFLEX 416 is a lightweight modern Super 16 film camera with
a 35-style viewfinder and an amazingly low sound level similar to that of the
ARRICAM. Its speed is variable from 1 to 75 fps, and its mirror shutter can
be manually adjusted from 45 to 180 degrees. A completely new lightweight
ergonomic design, integrated electronic accessories and compatibility with the
same lenses and accessories used by its 35 mm siblings make the 416 the most
powerful, flexible and portable Super 16 camera ever built.
n The Quietest 16 mm Camera
· sound less than 20 dbA
M ain F eatures
n High Quality Video Assist
· improved image quality
· adjustable image enhancement
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
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
I C an S ee C learl y N ow
To get the images you want, first you have to see them clearly. Especially in 16
mm, the quality of the viewfinder is crucial so the operator can accurately judge
the image. The 416 optical viewfinder makes it easy to judge focus, create a
precise image composition and work comfortably, accurately and efficiently.
The ARRIFLEX 416 viewfinder optics have been re-designed 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, judging focus on the set has just become a lot easier,
and unpleasant surprises during dailies a lot less likely.
The 416 viewfinder ergonomics are based on the ARRIFLEX 235 viewfinder;
it has 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 viewfinder has a large exit pupil, the operator has
more freedom to move without loosing the image - a great advantage when going
hand held or shooting action sequences. In contrast to its predecessor, the 416
accepts large diameter 35 format primes, including the new Master Primes,
because its viewfinder is located higher above the lens mount.
The ARRIFLEX 416 optical viewfinder uses a
completely new optical design, resulting in
significantly higher contrast, higher resolution
and a brighter image.
u Mirror Shutter
The light from the taking lens is
reflected up by a spinning half
moon shaped mirror. Since this
mirror rotates, half the time the light
is projected onto the film, the other
half up into the viewfinder. While
the light is reflected up, the mirror
covers the film, which is transported to the next frame. Since this
mirror's function is both reflecting
and shuttering light, it is known as a
"mirror shutter".
and projected through the video
assist optics (not pictured) onto the
video assist CCD sensor.
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.
al Pechan Prism
V Supplementary Lens
Automatically keeps the image
upright when the viewfinder is
rotated. Also allows for manual
image rotation.
v Fiber Optic Screen
W Partial Mirror
am Secondary Lens
The light is projected onto a screen
(a fiber optic screen, in case of the
416), which acts as a rear projection
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.
Provides the image for the eyepiece.
w Field Lens
an Mirror
ao Protective Glass
X 90 Degree Prism
Located at the mechanical interface
to the eyepiece or eyepiece
extension, the protective glass
prevents dust from getting into the
viewfinder optics.
at Primary Lens
ap Eyepiece
x Video Assist Beam Splitter
Picks up the image from the fiber
optic screen.
80% of the light passes straight up,
while 20% is reflected to the side
ak Mirror
The eyepiece allows the operator to
view the image. It also provides a
focus adjustment of approximately
+/- 3 diopters.
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
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 full color image and are able to accurately judge focus. 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, thus minimizing the
need for re-takes and saving precious time on the set.
Operators find this extra area around the image also 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 like medium and long eyepiece extensions,
eyepiece levelers and heated eyecups.
An optical viewfinder is essentially a small rear projection screen and a magnifying glass. Light from the taking lens forms an image on a screen. For 16 mm
cameras, this is usually a fiber optic screen, and for 35 mm cameras it is usually
a ground glass. 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.
The specific light path pictured here is from the ARRIFLEX 416, but is similar in
principal to all optical viewfinders.
With the new RGB ARRIGLOW, you can choose any color you like. Set evenly
yellow for blue skies. You can, of course, also mix your own ARRIGLOW grey.
The 416 viewfinder is accompanied by a video assist of the same image quality and
features 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
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 or
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
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
T he S ound of S ilence
The 416 uses a completely new sound insulation design that makes it as quiet as
an ARRICAM. An inner skeleton is suspended by symmetrically positioned rubber
insulators in the 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 to radiate 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
magazine consist 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? At a sound level less than
20 dbA, the ARRIFLEX 416 is so silent that sound recordists will ask the same question
they are asking 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 magazine outer shell
v magazine inner skeleton
w body rubber insulators
x body inner skeleton
y magazine rubber insulators
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 quite operation.
ARRIFLEX 416 Plus with extended 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
ARRIFLEX 416 with basic electronics
C O M PA C T, L I G H T W E I G H T & F A S T
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 further increases
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
16SR3, when comparing a configuration including body, viewfinder, IVS and
magazine. When comparing the 416 Plus to a 16SR3 with UMC-3, the difference is
even greater. Its shape has been designed to make it as compact as possible and to
give it a low profile. At the same time its shape and weight are balanced perfectly for
comfortable shoulder operation.
A lot of thought has been put into the ergonomics of having to work fast and
safe on a film set. The new magazines, as well as the new on-board battery, can be
quickly removed with one hand. The 416's new front shape makes attaching lens
accessories easier and faster. To avoid the clutter of extra boxes and cables, lens motor electronics and a wireless radio can be integrated directly into the camera body,
which is then called an ARRIFLEX 416 Plus.
Last but not least, there is the new split bridgeplate. The camera can be removed
from a zoom lens/tripod configuration in two quick steps: open the lens mount, split
the bridgeplate and the camera pops off. The second assistant can then dismantle the
zoom lens, while the operator is already shooting handheld.
416 Split Bridgepalte
n Elevates 416 to proper height for accessories
n Fast switch from tripod to shoulder
The 416 uses 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. This includes the Master Primes, which
combine the highest optical quality with a super fast stop of T1.3. This includes 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 film cameras, like macro lenses, super
Shift & Tilt lenses, tilt focus lenses, reverse perspective lenses, squishy lenses and so on.
Five brand new T1.3 prime lenses have been developed specifically for the Super
16 format: the Ultra 16 lenses. With focal lengths of 6, 8, 9.5, 12 and 14 mm the Ultra
16 lenses extend the Ultra Primes further into the wide end. The Ultra 16 lenses are a
perfect match for the 416; they exhibit the same resistance to flare as the Master Primes
and give an unprecedented image quality even when opened to their maximum aperture
of T1.3. Their high speed allows shooting on tight lighting budgets, shooting under time
pressure and creating a shallow depth of field.
The 416 uses the industry standard PL mount.
This affords stable backfocus and an unparalleled selection of lenses.
long telephoto zooms or zooms with a super wide range, fisheyes, extreme telephotos,
The Ultra 16 lenses: wide & fast at 6, 8, 9.5, 12 and 14 mm, all T1.3
The Ultra Primes: 8, 10, 12, 14, 16, 20, 24, 28, 32, 40, 50, 65, 85, 100, 135, 180 mm
The simple to use control panel on the 416 should be familiar to anyone who
has ever worked with a modern ARRI camera, since the 416 has inherited
the 235's control panel design and illuminated buttons. Thus the 416 can be
operated without further training. Setting the camera's operating parameters
can be accomplished quickly and intuitively.
The new, powerful and smart Lithium-ion on-board battery OBB-2 can
run up to five magazines while keeping camera and video assist in standby for
more than 2 hours. With a built-in power gauge the state of an OBB-2 can be
quickly determined, and since the OBB-2 communicates with the camera, the
416 can accurately display its current voltage, remaining capacity or how many
more magazines the battery's charge can run. A quick change mechanism - that
can be easily operated with one hand - is integrated into the camera body, thus
reducing total weight.
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 through a new,
but backwards compatible power connector.
T he 4 1 6 C amera S y stem
The ARRIFLEX 416 is complemented by a range of new and existing accessories
that follow the same design philosophy used in the creation of 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 416 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 has extra 3/8" attachment points with
locating pin holes for twist free attachment of accessories or extra secure rigging.
The 416 is compatible with most of the accessories used by its 35 mm siblings,
including the ARRI Remote Control Unit RCU-1, External Display EXD-1,
Wireless Remote System, Wireless Remote Control WRC-1, Universal Motor
Controller UMC-3, Iris Control Unit ICU, Electronic Synchronization Unit ESU,
most follow focus units and matte boxes. It has also inspired some new accessories,
like the Heated Eyecup HE-5 that automatically closes its iris when the operator is
not looking through the viewfinder.
Fps: . ................................................... 1 to 75 fps
Speed can be varied while camera runs
Ramps possible with Remote Control Unit RCU-1, Wireless Remote Control WRC-1 and Iris Control Unit ICU-1.
Shutter: . ............................................. 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
Sound:................................................. < 20 dbA @ 24 fps
Flange focal distance: ........................ 52.00 mm -0.01
Movement:.......................................... 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:...................................... 16SR3 fiber optic screens
ARRIGLOW: . ...................................... RGB ARRIGLOW with custom combination of red, green and blue, separate brightness control on camera left side
Weight: . ............................................. Camera body, viewfinder, eyepiece, IVS, magazine and film: about 5.5 Kg/12.1 Lbs;
that is 25% less than a 16SR3 in a similar configuration
Power input:........................................ 24 Vdc nominal, accepts 21 to 35 Vdc
Battery:................................................ 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: 16SR3 battery had 29 Watt/hours at 870 g/1.9 Lbs)
Certified for legal transport in airplanes
Accessory power outputs: ................. 1x 24V RS connector on 416, or 2x 24V RS connector on 416 Plus
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)
Magazine: ........................................... 416 Shoulder Magazine 120/400 (SHM-3), Timecode module optional
Timecode: . ......................................... Continuous barcode on film edge, 80 bit according to SMPTE RP 114 (same as on 16SR3).
All data subject to change without notice.
Timecode & Userbits window burn in and VITC on video assist possible.
Arnold & Richter Cine Technik (Headquarters, Sales & Service)
Türkenstraße 89, D-80799 Munich, Germany
Vice President Sales & Marketing: Serge Giordano, [email protected]
Tel: +49 (0)89 3809 0, Fax: +49 (0)89 3809 1791
Great Britain
ARRI GB Limited (Sales & Service)
2 Highbridge, Oxford Road, Uxbridge, Middlesex, UB8 1LX, England
Film Equipment Sales: Alan 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
Vice President: 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 Australia PTY Limited (Rental & Service)
Unit 6C, 5 Talavera Road, Macquarie Park, Sydney.
NSW 2113 Australia
General Manager: Clemens Danzer, [email protected]
Tel: +61 (2)9855 4300, Fax: +61 (2)9855 4301
Technical data and offerings are subject to change without notice. All rights reserved. Without any warranty. Not binding 04/2006. ARRI is a registered trademark of Arnold & Richter Cine Technik GmbH & Co. Betriebs KG.
This ARRIFLEX 416 preliminary product brochure (K5.40055.0) is published by:
Arnold & Richter Cine Technik, April 01, 2006
© ARRI/2006
Arnold & Richter Cine Technik GmbH & Co. Betriebs KG
phone +49 (0)89 3809 0 / fax +49 (0)89 3809 1245
Türkenstrasse 89 / D-80799 Munich
© Johannes Polta
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