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| Cinematographer Will Rexer (center) with First Camera Assistant John Schwartz (left) and Second Camera Assistant Gregg De Domenico. |
After Words on the Wind was the first show to use the ARRIFLEX 416 in the US, the camera went on to a variety of commercials. Marc Shipman-Mueller caught up with cinematographer Will Rexer, camera assistant Jay Feather and ARRI CSC rental manager Charlie Tammaro to see how the 416 fared in the commercial world.
How did the 416 do on the Advanced Internet commercial?
Will Rexer: We used the 416 on a Steadicam, on a dolly and handheld, and it was terrific. The viewfinder system is dynamite, the video tap is fantastic and the ARRIGLOW works great. The 416 is incredibly light, well balanced and really comfortable. I liked it a lot for handheld work, it is very comfortable on the shoulder and very light, but feels very solid.
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| Will Rexer hand held with the 416 |
Jay Feather: The 416 is spectacular! The SR 3 was a great camera, but lots of people go to 16 if they want handheld, and the SR 3 was always a bit awkward on the shoulder. The 416 in contrast is unbelievably comfortable, and so much lighter. I don't even know how that is possible, but it makes handheld much easier.
For the assistant the camera is also great. Changing mags is quick, no one is waiting around for you. And once the loaders got used to the different method for loading the mags, they were super fast.
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| Will Rexer on the dolly making good use of the Medium Eyepiece Extension. |
Will Rexer: The viewing system though is the key thing - it is so sharp and so bright, you can really see what you are doing. The image is very clean, and even in bright backlight situations I had no strange artifacts in the viewfinder. And it is comfortable in terms of operating on a dolly in awkward positions. During one shot I was forced to sit on the side of the dolly, with my head turned around, looking the wrong way, and I was able to flip the viewfinder so I could comfortably look into it, and rotate the image so that I saw it properly, even though my head was not level.
Jay Feather: The viewing system on the 416 is intense! All the cameramen I have worked with that have used the 416 fell in love with it, since it makes their job so much easier. The moment they put their eyes on the viewfinder it blows them away how bright it is!
I have to ask since we had great debates during development on
the usefulness of this item: did you use the RGB ARRIGLOW?
Will Rexer: It really did help! I had some shots against a green screen, and then against a blue background and then a black background and a white background, and on some the ARRIGLOW color just blended in, so we changed it. I never thought I would have needed an ARRIGLOW that can change its color, but there we were, and it really helped!
Jay Feather: The multi-color ARRIGLOW option helped us just yesterday. We were shooting against black, and the DP said he could not see the glow very well, so I switched to glow setting 8. I said "try this," and he liked it. It is all so easy to operate.
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| Jay Feather (right), here on a commercial with Cinematographer Joost Von Starrenburg (left). |
I assume for commercials the video tap is important?
Will Rexer: It is very important, and the 416 video tap is terrific. In the past, there always was a difference between the image the client sees from a 35 and from a 16 camera. The 416 tap is so good looking and so sharp, there was really no difference to the images on 35 camera taps.
Jay Feather: The tap on the 416 is amazing. The image is crystal clear, we have no more complaints from the agency. The agency is happy.
What kind of lenses do you use on 16 mm cameras these days?
Jay Feather: The new Ultra 16 lenses were not available yet. On both 416 shows I have done we used 35 format lenses: on one the Ultra Primes, on the other the Cooke S4 lenses. With the SR 3 that was always a problem, putting 35 lenses in front, since you have to pull up the viewing system. With the 416 all 35 format lenses just fit, it gives the DP that many more options.
Will Rexer: I used the 35 format Ultra Primes out of habit, I shoot more 35 than 16. I like the lenses and I am familiar with them. In this commercial we had a lot of contrast, bright windows behind black lacquer top desks, and I wanted to make sure I had the strongest lenses to capture that with.
Was it ever discussed to shoot in HD?
An HD camera would never have the range to handle the contrast that we were dealing with there. With HD we would have had to compromise on one end or the other of the contrast range, and it would have taken much longer. The 7205 stock and the Ultra Primes can dig deep into the shadows and handle the highlights well. We were shooting two commercials in one day. We entered the building in the morning, dressed two complete sets, lit them and shot with two 416 cameras. One was on Steadicam, and one was either in studio mode or hand held. Oh, yes, switching from studio mode to handheld is really quick with the 416, it is a breeze.
Jay Feather: Ironically, I think 16 is becoming more popular in response to HD. 16 production has increased in the last couple of years. HD did not prove as fast and cheap as some thought. With Super 16, there is no waiting on camera, no complex umbilical cord you carry around.
How was the 416 on a Steadicam?
Will Rexer: I own an Aaton, and I have worked a lot with SRs, and so I was curious how the 416 worked out on the Steadicam. Our Steadicam operator was impressed. He said the 416 has the least amount of weight shift of all the 16 mm cameras.
Jay Feather: The Steadicam operator was happy, the 416 is very light. I was happy as an assistant, since I am a big fan of the ARRI Wireless Remote System. Having that integrated into the 416 is great. We needed no extra pieces, no extra cables hanging off the camera, it is straight forward. You turn the camera and the WRS on, and you are ready to go. The WMU-3 is so incredible, it is so small and compact and easy to hold. I find it easier to pull focus with a wireless system.
Will Rexer: It worked so well and seamlessly with the existing equipment, the camera is very well integrated with the other ARRI gear.
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| Charlie Tammaro, supreme Camera Department Manager of ARRI CSC. |
Charlie, how is the response to the 416 at ARRI CSC?
Charlie Tammaro: The 416 is doing well. Loading the mags is slightly different from the SR3, but once the assistants know the trick, it's easy. Now that the camera has been out a bunch, I have lots of requests for the 416: everyone who has used one wants it again, and everyone who has heard about it also wants one.
Will Rexer: And - it also looks really good!
Thank you all for the interview.
Marc Shipman-Mueller
More interviews about first 416 prductions can be found at:
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