ARRI ARRIFLEX 416 - Manuals

Page 2 - 5 Format Features in a Super 16 Camera

2 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,...

Page 3 - Main Features

3 ARRI | ARRIFLEX 416 Main Features 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 n The Quietest 16 mm ...

Page 4 - I Can See Clearly Now

4 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 app-raise images, especially with 16 mm. The optical viewfinder on the 416 cameras makes it easy to judge focus, create a precise image composi...

Page 7 - Advantages of Optical Viewfinders; FO

7 ARRI | ARRIFLEX 416 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...

Page 8 - IX

8 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 a...

Page 10 - The Sound of Silence; ER; IS

10 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 symme-trically positioned rubber insulato...

Page 15 - Compact, Lightweight and Fast; IG

15 ARRI | ARRIFLEX 416 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 anythin...

Page 16 - PL Mount and Lenses; EW

16 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 a...

Page 18 - Control and Power

18 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 furth...

Page 21 - The 416 Camera System; LA

21 ARRI | ARRIFLEX 416 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 norma...

Page 22 - Technical Data

22 Technical Data ARRIFLEX 416 ARRIFLEX 416 Plus ARRIFLEX 416 Plus HS Fps 1-75 1-150 Speed can be varied while camera runsRamps possible with Remote Control Unit RCU-1, Wireless Remote Control WRC-1, WRC-2 and Iris Control Unit ICU-1 Shutter Manually adjustable to: 45, 90, 135, 144, 150, 172.8, 180 ...