ARRI ARRIFLEX 416 Plus

  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.

 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.

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. 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.

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?

 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.

 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 viewfinder.

Technical Data