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| The ARRIFLEX 416 |
“When many are talking about the great digital trend,” says Franz Kraus, General Manager of the ARRI Group, “some companies have perceived a kind of counter-trend in the last years. 35 mm film is going strong as ever, but we have also seen an increased use of Super 16 mm film. Kodak has reported a continued high volume of Super 16 sales, while showing increases in some markets, and our rentals tell us that their 16 mm cameras are constantly working. The reason is simple: Super 16 is a high quality / low cost origination medium. The equipment is small, robust and provides a great number of creative options. Film has inherently ‘the film look’, a dynamic range in excess of 16 stops and is also a global standard that can be archived well into the future.”
Marc Shipman-Mueller, Product Manager for Film Cameras and Lenses, ads: “Various technological advances in the last years have improved the image quality of Super 16 tremendously: there have been new film stocks, new telecines, new scanners, new lenses and, of course, the Digital Intermediate (DI). We have seen producers take advantage of these developments in two ways: First, Super 16 is a great image capture medium when shooting for SD (standard definition) or HD (high definition) broadcast. And second, independent features have shot on Super 16 and gone DI, which gives them the option to create a high quality 35 mm release print. As a result, for some years now cinematographers have asked us to update the 16SR3 with the features they use daily on our 35 mm cameras.”
“But when we looked at that,” says Klemens Kehrer, who had just completed project management for the ARRIFLEX 235, “we found that we really had gone as far as we can go with the 16SR concept. The 16SR is a brilliant camera of which we have sold more than 5,100 units by now, but it was introduced in 1975 and has been updated continuously since then. To accomplish what cinematographers have requested, especially a better viewfinder and a totally quiet camera, we had to break the mold and rework the camera from the ground up.”
The result is the ARRIFLEX 416, a lightweight modern Super 16 film camera with a 35-style viewfinder and a sound level similar to that of the ARRICAM. The 416 has a completely new lightweight ergonomic design, integrated electronic accessories and compatibility with the same lenses and accessories used by its 35 mm siblings. It runs from 1 to 75 fps, and has a manually adjustable mirror shutter from 45 to 180 degrees.
Klaus Feix, General Manager of the ARRI Group, explains further: “In the middle of 2006 we will show the first 416 prototypes. These cameras will be thoroughly tested. That way we can assure that the camera works well in the real world, under real production conditions, when we deliver the final product at the end of 2006.”
Main Features:
- The Quietest 16 mm Camera
- 35-style Optical 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
- High Quality Video Assist
- improved image quality
- adjustable image enhancement
- 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
For detailed information, visit the ARRIFELX 416 product page |
The Power of 416