ARRI ARRIFLEX 416 User Manual
ARRIFLEX 416
Quiet, Bright and Light
2
35 Format Features in a Super 16 Camera
Continuous advances in lenses, lm stock and postproduction
technologies have elevated the Super 16 lm format to new levels of
image quality and production efciency. Super 16 is now routinely
used for standard and high denition television productions, feature
lms, commercials and documentaries, and with stunning results.
By shooting Super 16, productions gain many of the advantages
of shooting lm - the lm look, its unsurpassed exposure latitude,
natural color reproduction, variable camera speeds, ramps, proven
archivability and the fact that lm is the only globally accepted
standard format - at affordable production costs. The small size and
light weight of Super 16 equipment has the extra benet of easy
portability for fast-paced production environments.
n Three Models
· ARRIFLEX 416
basic model
· ARRIFLEX 416 Plus
built-in accessory electronics and radio
for wireless remote control
In response to market demand, ARRI is offering three new Super
16 cameras: the ARRIFLEX 416, 416 Plus and 416 Plus HS. Based on
years of camera engineering, market research and focus groups with
renowned industry professionals, the ARRIFLEX 416 cameras make
features previously only found in high end 35 mm cameras available
to Super 16 productions.
All three ARRIFLEX 416s are lightweight, modern Super 16 lm
cameras, each with a 35-style viewnder and a mirror shutter that can
be manually adjusted from 45 to 180 degrees. The 416 and 416 Plus
have an amazingly low sound level similar to that of the ARRICAM.
Their speed range is from 1 to 75 fps, while the 416 Plus HS runs
from 1 to 150 fps. A completely new lightweight ergonomic design,
integrated electronic accessories in the Plus cameras and compatibility with the same lenses and accessories used by their 35 mm siblings
make the 416 cameras the most powerful, exible and portable Super
16 cameras ever built.
· ARRIFLEX 416 Plus HS
high speed for slow-motion effects with
built-in accessory electronics and radio
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ARRI | ARRIFLEX 416
Main Features
n The Quietest 16 mm Camera
· 416 & 416 Plus:
sound less than 20 db(A)
nHigh Quality Video Assist
· improved image quality
· adjustable image enhancement
nCompact & Lightweight
· small camera body
· low prole design
· 25% lighter than 16SR 3
nErgonomic Design
· ergonomic shoulder cut out
· viewnder removes quickly for Steadicam and remote applications
· optional integrated radio & lens motor drivers
· split bridgeplate for fast switch from tripod to shoulder
n35-style Viewnder
· 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
4
I Can See Clearly Now
To capture the images you want, you have rst to see them clearly.
So viewnder quality is crucial if an operator is to accurately appraise images, especially with 16 mm. The optical viewnder on the
416 cameras makes it easy to judge focus, create a precise image
composition, and work comfortably and efciently.
The viewnder optics have been redesigned from the ground up,
incorporating fewer lens elements of higher quality and a shorter
optical path. The results are signicantly 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' viewnder ergonomics are based on the
ARRIFLEX 235 viewnder so they share the same freedom of
movement and features. The 416 viewnder can be freely rotated,
extended or ipped 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'
viewnder 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 viewnder is located higher above the lens mount.
5
ARRI | ARRIFLEX 416
The ARRIFLEX 416 cameras' optical viewnder uses a completely new optical design,
resulting in signicantly higher contrast,
higher resolution and a brighter image.
6
z
light path inside camera body
z
light path inside viewnder
AM
AN
AL
AO
AP
u
Mirror Shutter
A half-moon shaped mirror rotates
in front of the lm gate at the
camera speed. Half of the time the
mirror covers the lm and the light
from the taking lens is reected
up into the viewnder. During that
time, the lm is transported one
frame further. The other half of
the time the mirror leaves the light
path open, so the light from the
taking lens is projected onto the
lm, exposing an image. Since the
mirror's function is to both reect
and shutter light, it is known as a
"mirror shutter".
v
Fiber Optic Screen
The light from the lens is projected
onto a screen (a ber optic screen
in the 416 cameras), which acts
as a rear projection screen. This is
where the viewnder image forms.
w
Field Lens
The eld lens (named as such
because located close to the
image eld) refracts the light into
the entrance pupil of the primary
viewnder lens and the video assist
lens.
AQ
x
Video Assist Beam Splitter
80% of the light passes straight up,
while 20% is reected to the side
and projected through the video
assist optics (not pictured) onto the
video assist CCD sensor.
y
Supplementary Lens
U
Protective Glass
An optically clear glass plate on the
top surface of the camera body protects the components underneath
from dirt contamination.
V
Supplementary Lens
W
ARRIGLOW LED Module
Red green and blue LEDs are situated on an electronics board above
the partial mirror.
X
Partial Mirror
The light from the ber optic screen
is reected into the viewnder.
At the same time, the light from
the ARRIGLOW LEDs above is let
through. This light is then reected
off the frame line markings on the
ber optic screen, providing illuminated frame lines when needed.
at
90 Degree Prism
ak
Primary Lens
Picks up the image from the ber
optic screen.
al
Mirror
am
Pechan Prism
Automatically keeps the image
upright when the viewnder is
rotated. Also allows for manual
image rotation.
an
Secondary Lens
Provides the image for the eyepiece.
ao
Mirror
ap
Protective Glass
Located at the mechanical interface
to the eyepiece or eyepiece
extension, this protective glass
prevents dust from getting into the
viewnder optics.
aq
Eyepiece
The eyepiece allows the operator to
view the image. It also provides a
focus adjustment of approximately
+/- 3 diopters.
AK
AT
9
7
ARRI | ARRIFLEX 416
Advantages of Optical Viewnders
Optical viewnders, as used in all ARRI cameras, provide by far the most
comfortable, accurate and efcient 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 viewnders have zero delay, showing
exactly what is happening, right when it is happening.
Optical viewnders show an area larger than the image recorded on lm,
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 nd this extra area around the image crucial
for precise composition and exacting camera movements.
COMFORTABLE,
ACCURATE & EFFICIENT
In addition, optical viewnders work without power, are less fatiguing
to the eye than electronic viewnders 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.
How Does an Optical Viewnder Work?
An optical viewnder is essentially a small rear projection screen and a magnifying glass. The taking lens projects light onto a screen; for 16 mm cameras
this is usually a ber optic screen, while for 35 mm cameras it is usually a
ground glass. An image is formed on the screen. The screen has a specically
chosen granularity that allows the operator to precisely judge focus and depth
of eld.
The rest of the viewnder is a very sophisticated magnication apparatus
that allows the operator to view this image properly. Since the image on
the screen will be magnied about 8 times by the viewing system before it
reaches the human eye, high quality viewnder optics and precision assembly
are crucial. Through the use of mirrors and prisms the viewnder can be
re-oriented freely in space, allowing the operator to see an upright image
irrespective of how the viewnder is positioned.
A small part of the light in the viewnder is split off and directed to a CCD
sensor, which creates a video image - the so called "video assist" - allowing
others besides the operator to see the image.
The specic light path pictured here is from the ARRIFLEX 416 cameras,
but it is similar in principle to that of all optical viewnders.
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' viewnder 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
benets 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, viewnder 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.
MIX YOUR
OWN COLOR
High quality video assist
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