ARRI 416 Camera Rental
In response to market demand, ARRI is introducing a new Super 16 camera, the ARRI 416 Camera Rental. Based on years of camera engineering, market research and focus groups with renowned industry professionals, the ARRI 416 Camera Rental brings features previously only found in high end 35 mm cameras to Super 16 productions. The ARRI 416 Camera Rental is a lightweight modern Super 16 film camera with a 35-style viewfinder and an amazingly low sound level similar to that of the ARRICAM. Its speed is variable from 1 to 75 fps, and its mirror shutter can be manually adjusted from 45 to 180 degrees. A completely new lightweight ergonomic design, ARRIflex 416 CameraRentalintegrated electronic accessories and compatibility with the same lenses and accessories used by its 35 mm siblings make the ARRI 416 Camera Rental in Barcelona the most powerful, flexible and portable Super 16 camera ever built.
Advances in lenses, film stock and post production technology 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, feature films, commercials and documentaries with stunning results. By shooting Super 16, productions gain many of the advantages of shooting film – the film look, its unsurpassed exposure latitude, natural color reproduction, variable camera speeds, ramps, proven archivability and film being the only worldwide accepted standard format – at affordable production costs. The small size and light weight of Super 16 equipment has the extra benefit of easy portability for fast paced production environments
Compact & Lightweight
- Small camera body
- Low profile design
- 25% lighter than Arri SR3 Rental
High Quality Video Assist
- Improved image quality
- Ajustable image enhancement
- 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
- 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
The Sound of Silence
The ARRI 416 Camera Rental uses a completely new sound insulation design that makes it as quiet as an ARRICAM. An inner skeleton is suspended by symmetrically positioned rubber insulators in the 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 to radiate 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.
PL Mount & Lenses
The ARRIFLEX 416 Camera Rental uses 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 Rental. This includes the Master Primes, which combine the highest optical quality with a super fast stop of T1.3. This includes 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, like 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
I Can See Clearly Now
To get the images you want, first you have to see them clearly. Especially in 16 mm, the quality of the viewfinder is crucial so the operator can accurately judge the image. The ARRI 416 Camera Rental optical viewfinder makes it easy to judge focus, create a precise image composition and work comfortably, accurately and efficiently. The ARRI 416 Camera Rental viewfinder optics have been re-designed 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 ARRI 416 Camera Rental, judging focus on the set has just become a lot easier, and unpleasant surprises during dailies a lot less likely. The ARRI 416 Camera Rental viewfinder ergonomics are based on the ARRIFLEX 235 viewfinder; it has the same freedom of movement and features. The ARRI 416 Camera Rental 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 viewfinder has a large exit pupil, the operator has more freedom to move without loosing the image – a great advantage when going hand held or shooting action sequences. In contrast to its predecessor, the ARRI 416 Camera Rental accepts large diameter 35 format primes, including the new Master Primes, because its viewfinder is located higher above the lens mount. The ARRIFLEX 416 optical viewfinder uses a completely new optical design, resulting in significantly higher contrast, higher resolution and a brighter image.
Optical viewfinders, as used in all ARRI cameras rental (Arri SR3 rental) , provide by far the most comfortable,accurate and efficient way to work when capturing images. Operators see a full color image and are able to accurately judge focus. 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, thus minimizing the need for re-takes and saving precious time on the set. Operators find this extra area around the image also 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 like medium and long eyepiece extensions, eyepiece levelers and heated eyecups. An optical viewfinder is essentially a small rear projection screen and a magnifying glass. Light from the taking lens forms an image on a screen. For 16 mm cameras, this is usually a fiber optic screen, and for 35 mm cameras it is usually a ground glass. The rest of the viewfinder is a very sophisticated magnification apparatus that allows the operator to view this image properly. Since the image on the screen will be magnified about 8 times by the viewing system before it reaches the human eye, high quality viewfinder optics and precision assembly are crucial. The specific light path pictured here is from the ARRI 416 Camera Rental, but is similar in principal to all optical viewfinders.
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 ARRI 416 Camera Rental viewfinder is accompanied by a video assist of the same image quality and features 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.
C O M P A C T , L I G H T W E I G H T & F A S T
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 ARRI 416 Camera Rental further increases this portability, while providing many of the features crews have come to expect of 35 mm cameras. The ARRI 416 Camera Rental weight has been reduced by an amazing 25% in comparison to the 16SR3, when comparing a configuration including body, viewfinder, IVS and magazine. When comparing the ARRI 416 Camera Rental Plus to a Arriflex 16 SR3 rental with UMC-3, the difference is even greater. Its shape has been designed to make it as compact as possible and to give it a low profile. At the same time its shape and weight are balanced perfectly for comfortable shoulder operation. A lot of thought has been put into the ergonomics of having to work fast and safe on a film set. The new magazines, as well as the new on-board battery, can be quickly removed with one hand. The ARRI 416 Camera Rental new front shape makes attaching lens accessories easier and faster. To avoid the clutter of extra boxes and cables, lens motor electronics and a wireless radio can be integrated directly into the camera body, which is then called an ARRIFLEX 416 Plus. Last but not least, there is the new split bridgeplate. The camera can be removed from a zoom lens/tripod configuration in two quick steps: open the lens mount, split the bridgeplate and the camera pops off. The second assistant can then dismantle the zoom lens, while the operator is already shooting handheld.
P L M O U N T & L E N S E S
The ARRI 416 Camera Rental uses 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. This includes the Master Primes, which combine the highest optical quality with a super fast stop of T1.3. This includes the Ultra Primes, the modern prime lens set with the widest focal range from 8 to 180 mm. It also includes a ll the specialty lenses available only for film cameras, like 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.Five brand new T1.3 prime lenses have been developed specifically for the Super 16 format: the Ultra 16 lenses. With focal lengths of 6, 8, 9.5, 12 and 14 mm the Ultra 16 lenses extend the Ultra Primes further into the wide end. The Ultra 16 lenses are a perfect match for the 416; they exhibit the same resistance to flare as the Master Primes and give an unprecedented image quality even when opened to their maximum aperture of T1.3. Their high speed allows shooting on tight lighting budgets, shooting under time pressure and creating a shallow depth of field.
C O N T R O L & P O W E R
The simple to use control panel on the ARRI 416 Camera Rental should be familiar to anyone who has ever worked with a modern ARRI camera, since the 416 has inherited the 235’s control panel design and illuminated buttons. Thus the ARRI 416 Camera Hire can be operated without further training. Setting the camera’s operating parameters can be accomplished quickly and intuitively. The new, powerful and smart Lithium-ion on-board battery OBB-2 can run up to five magazines while keeping camera and video assist in standby for more than 2 hours. With a built-in power gauge the state of an OBB-2 can be quickly determined, and since the OBB-2 communicates with the camera, the ARRI 416 Camera Rental can accurately display its current voltage, remaining capacity or how many more magazines the battery’s charge can run. A quick change mechanism – that can be easily operated with one hand – is integrated into the camera body, thus reducing total weight. The same familiar controls found on the 235, 435 and 535 have also been used for the ARRI 416 Camera Rental. The ARRI 416 Camera Hire System The ARRIFLEX 416 is complemented by a range of new and existing accessories that follow the same design philosophy used in the creation of 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 ARRI 416 Camera Hire 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 has extra 3/8″ attachment points with locating pin holes for twist free attachment of accessories or extra secure rigging. The 416 is compatible with most of the accessories used by its 35 mm siblings, including the ARRI Remote Control Unit RCU-1, External Display EXD-1, Wireless Remote System, Wireless Remote Control WRC-1, Universal Motor Controller UMC-3, Iris Control Unit ICU, Electronic Synchronization Unit ESU, most follow focus units and matte boxes. It has also inspired some new accessories, like the Heated Eyecup HE-5 that automatically closes its iris when the operator is not looking through the viewfinder.