16SR, 16SR HS, 16SR II, 16SR IIE, 16SR IIHS
The ARRIFLEX 16SR (Silent Reflex) represented a breakthrough in camera design for ARRI, being an exceptionally compact yet sync-sound 16 mm model with a symmetrical layout that maximized operational flexibility. Initially released in 1975, it was followed by a gray-painted high-speed model in 1979 and the quieter 16SR II in 1981, which was also offered in a gray high-speed version as well as an ‘E’ economy model without light meter or auto-exposure.
The standard 400 ft 16SR film magazine, as well as the rare 200 ft magazine pictured at the top of this page, were coaxial in design. Since the feed and take-up loops were set on the magazine rather than in the camera, magazines could be clipped in and out very quickly, with the onboard battery hinging backwards to make room.
Symmetry of design extended beyond the double-sided coaxial magazine to define the entire camera body. The centrally positioned viewfinder pivots on three axes so it can be used on the left or right sides, as can the handgrip, held in place via the classic ARRI rosette interface.
By the 1980s, the Super 16 format was gaining in popularity, since it increased image quality by using a 40% larger negative area and allowed easier blow-ups to 35 mm. A huge number of 16SR II cameras were converted to Super 16 by ARRI and other companies over the years.
Cinematographer and future editor of Film and Digital Times Jon Fauer ASC cutting his teeth with an ARRIFLEX 16SR back in the day. His 16SR Book, which evolved out of notes for camera assistants, was the first of many camera guides produced in collaboration with ARRI. Proceeds were donated to the ASC in return for help distributing the guide books and films.
The 16SR series was incredibly versatile and retained the tough build quality ARRI was already famous for. It was used on documentaries – with the high-speed models becoming workhorses of natural history filmmaking – as well as commercials, music videos, newsgathering, and TV series. It even helped launch movie careers on feature films such as Kevin Smith’s “Clerks” (1994) and Guy Ritchie’s “Lock, Stock and Two Smoking Barrels” (1998).
