MAIN FEATURES
35-style Optical Viewfinder
- bright, high contrast, high resolution
- large exit pupil allows more eye movement
- multi-color RGB ARRIGLOW
- accommodates even wide diameter PL mount lenses
- excellent optical quality with eyepiece extension
High Quality Video Assist
- excellent image quality
- adjustable image enhancement
The Quietest 16 mm Camera
- 416 & 416 Plus: sound less than 20 db(A)
Compact & Lightweight
- small camera body
- low profile design
- 25% lighter than 16SR 3
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
Three Models
- ARRIFLEX 416: 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
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.
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.
| Old Viewfinder Image | ARRIFLEX 416 Viewfinder Image |
RGB ARRIGLOW
With the new RGB ARRIGLOW, you can choose any color you like. Set evenly illuminated framelines in magenta when shooting green screen, red for jungle or yellow for blue skies. You can, of course, also mix your own ARRIGLOW grey.
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.
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.
416 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.
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 film cameras, such as macro lenses, super long telephoto zooms or zooms with a 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.
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 weight.
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.
