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 efciency. Super 16 is now routinely
used for standard and high denition 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 benet 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 viewnder 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

3

ARRI | ARRIFLEX 416

Main Features

n The Quietest 16 mm Camera

· 416 & 416 Plus:
sound less than 20 db(A)

nHigh Quality Video Assist

· improved image quality

· adjustable image enhancement

nCompact & Lightweight

· small camera body

· low prole design

· 25% lighter than 16SR 3

nErgonomic Design

· ergonomic shoulder cut out

· viewnder removes quickly for Steadicam and remote applications

· optional integrated radio & lens motor drivers

· split bridgeplate for fast switch from tripod to shoulder

n35-style Viewnder

· 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 viewnder quality is crucial if an operator is to accurately app­raise images, especially with 16 mm. The optical viewnder on the
416 cameras makes it easy to judge focus, create a precise image
composition, and work comfortably and efciently.

The viewnder optics have been redesigned from the ground up,
incorporating fewer lens elements of higher quality and a shorter
optical path. The results are signicantly 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' viewnder ergonomics are based on the
ARRIFLEX 235 viewnder so they share the same freedom of
movement and features. The 416 viewnder 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'
viewnder 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 viewnder is located higher above the lens mount.

5

ARRI | ARRIFLEX 416

The ARRIFLEX 416 cameras' optical view­nder uses a completely new optical design,
resulting in signicantly higher contrast,
higher resolution and a brighter image.

6

z

light path inside camera body

z

light path inside viewnder

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 reected
up into the viewnder. 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 reect
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 viewnder 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
viewnder lens and the video assist
lens.

AQ

x

Video Assist Beam Splitter

80% of the light passes straight up,
while 20% is reected 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 reected into the viewnder.
At the same time, the light from
the ARRIGLOW LEDs above is let
through. This light is then reected
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 viewnder 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
viewnder 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 Viewnders

Optical viewnders, as used in all ARRI cameras, provide by far the most
comfortable, accurate and efcient 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 viewnders have zero delay, showing
exactly what is happening, right when it is happening.

Optical viewnders 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 viewnders work without power, are less fatiguing
to the eye than electronic viewnders 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 Viewnder Work?

An optical viewnder 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 specically
chosen granularity that allows the operator to precisely judge focus and depth
of eld.

The rest of the viewnder is a very sophisticated magnication apparatus
that allows the operator to view this image properly. Since the image on
the screen will be magnied about 8 times by the viewing system before it
reaches the human eye, high quality viewnder optics and precision assembly
are crucial. Through the use of mirrors and prisms the viewnder can be
re-oriented freely in space, allowing the operator to see an upright image
irrespective of how the viewnder is positioned.

A small part of the light in the viewnder 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 specic light path pictured here is from the ARRIFLEX 416 cameras,
but it is similar in principle to that of all optical viewnders.

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' viewnder 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
benets 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, view­nder 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

9

ARRI | ARRIFLEX 416

HDTV 1.78 HDTV 1.78 HDTV 1.78 HDTV 1.78

HDTV 1.78

HDTV 1.78

Old 16 mm Camera Viewfinder Image

Mix Your Own RGB ARRIGLOW Color

n Use magenta for green screen

n Red for jungle

n Yellow for blue skies

n Mix your own grey

ARRIFLEX 416 Viewfinder Image

n Higher contrast, higher resolution, brighter image

n Easier to judge focus on the set

n Excellent optical quality with eyepiece extension

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 symme­trically positioned rubber insulators in an 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 radiating to
the outer shell. The symmetrical positioning of the insulators ensures that the ange
focal distance stays constant so there is no change in depth from heat or cold.

The 416 magazine is powered by a brushless silent torque motor; there is no
noisy mechanical linkage between camera and magazine. And just like the camera,
the 416 magazine consists of an inner skeleton and an outer shell separated by
rubber insulators, making it the quietest 16 mm magazine ever built.

When working with a truly silent sync sound camera, directors and actors can
concentrate on the performance and crews can concentrate on the action. How
much time has been wasted on sets dealing with camera sound problems? With a
sound level of less than 20 db(A), the ARRIFLEX 416 and 416 Plus are so silent that
sound recordists will be asking the same question they ask when working with the
ARRICAM: is the camera really running?

The camera body's inner skeleton is held by rubber
insulators to prevent sound from radiating.

IS THE CAMERA

REALLY RUNNING?

SUPER SILENT < 20db(A)

11

ARRI | ARRIFLEX 416

4

6

5

1

2

u body outer shell
v body inner skeleton
w body rubber insulators
x magazine outer shell
y magazine inner skeleton
U magazine rubber insulators

6

The magazine is driven by an internal silent motor and

uses the same insulating technique as the camera body,

ensuring completely quiet operation.

QUIET
BRIGHT &
LIGHT

14

ARRIFLEX 416 Models

ARRIFLEX 416

Super silent and equipped with
basic electronics

Speed Range (fps)

Sound (dbA)

Weight (Kg/Lbs)

Integrated Accessory
Electronics

[1]

Body, viewnder, loaded magazine, video assist

[1]

1 - 75 1 - 75

< 20

5.5/12.1 5.8/12.8

no yes yes

ARRIFLEX 416 Plus

Super silent & exible with built-in accessory electronics
and radio for wireless remote control

< 20 < 29

ARRIFLEX 416 Plus HS

Super fast for slow-motion effects with
built-in accessory electronics and radio
for wireless remote control

1 - 150

5.8/12.8

15

ARRI | ARRIFLEX 416

25% LIGHTER

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 ts into any location, can be mounted
to almost anything and can be quickly used on the shoulder. The 416 cameras
further increase this portability, while providing many of the features crews have
come to expect of 35 mm cameras.

THAN SR 3

The 416 weight has been reduced by an amazing 25% in comparison to the
16SR 3, when comparing a conguration including body, viewnder, IVS and
magazine. When comparing the 416 Plus to a 16SR 3 with UMC-3, the difference
is even greater. The 416 cameras' shape has been designed to make them as
compact as possible and to give them a low prole. At the same time shape and
weight are perfectly balanced for comfortable shoulder operation.

416 Built-In Accessory Electronics

n Reduce clutter through

accessory electronics
integrated into camera body

n Lens motors plug directly

into camera

n Wireless remote control

without extra boxes

A lot of thought has been put into the ergonomics of having to work quickly
and safely on a lm set. The new magazine, as well as the new on-board battery,
can be swiftly removed with one hand. The cameras new front shape makes
attaching lens accessories easier and faster.

For slow-motion sequences the 416 Plus HS runs up to 150 fps, while still
using the same magazines as the 416 and 416 Plus. To avoid the clutter of extra
boxes and cables, the 416 Plus and 416 Plus HS have lens motor electronics and
a wireless radio directly integrated into the camera body.

Last but not least, there is the new split bridgeplate. The cameras can be
removed from a zoom lens/tripod conguration in two quick steps: open the lens
mount, split the bridgeplate and the camera slides off. The second assistant can
then dismantle the zoom lens while the operator is already shooting handheld.

416 Split Bridgeplate

n Elevates 416 to proper height for accessories

n Fast switch from tripod to shoulder

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 lm 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 cameras. This includes the
Master Primes, which combine the highest optical quality with a super fast stop of
T1.3, as well as 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
lm cameras, such as macro lenses, super long telephoto zooms or zooms with a
super wide range, sheyes, extreme telephotos, shift & tilt lenses, tilt focus lenses,
reverse perspective lenses, squishy lenses and so on.

A complete set of new T1.3 prime lenses has been developed specically for
the Super 16 format: the Ultra 16 lenses. With focal lengths of 6, 8, 9.5, 12, 14, 18,
25, 35 and 50 mm, the Ultra 16 lenses cover the whole range typically required by
a production. They are a perfect match for the 416 cameras, exhibiting the same
resistance to are as the Master Primes and giving unprecedented image quality
even when opened to their maximum aperture of T1.3. Their high speed creates
shallow depth of eld and allows shooting on tight lighting budgets or under
severe time pressure.

The 416 uses the industry standard PL mount.
This affords stable backfocus and an unparalleled selection of lenses.

THE NEW

ULTRA 16 LENSES

17

ARRI | ARRIFLEX 416

The Ultra 16 lenses: 6, 8, 9.5, 12, 14, 18, 25, 35 and 50 mm, all T1.3

The Ultra Primes: T2.8/8, T2.1/10, T2/12, T1.9/14, T1.9/16, T1.9/20, T1.9/24, T1.9/28, T1.9/32, T1.9/40, T1.9/50, T1.9/65, T1.9/85, T1.9/100, T1.9/135 and T1.9/180 mm

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 further
training and the setting of any operating parameter can be accomplished
quickly and intuitively.

The powerful and smart Lithium-ion OBB-2 on-board battery can run
up to ve magazines while keeping camera and video assist in standby for
more than two hours. With a built-in power gauge the state of an OBB-2
can quickly be determined, and since the OBB-2 communicates with the
camera, the 416 cameras can accurately display the battery's current
voltage, remaining capacity or how many more magazines the battery's
charge will run. A quick change mechanism, which can be easily operated
with one hand, is integrated into the cameras' bodies and reduces overall
weight.

The same familiar controls found on the 235, 435 and 535 have also been used for the 416.

19

ARRI | ARRIFLEX 416

The OBB-2 connects to the 416 cameras through a new,

but backwards-compatible power connector.

20

21

ARRI | ARRIFLEX 416

MODULAR

SYSTEM

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 efciency on the set.

Two handles have been designed: one for normal use, one for remote. These
include such details as a ip-up tape hook and different height platforms for
Steadicam and for under-slinging the camera 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 cameras have
extra 3/8" attachment points with locating pin holes for twist-free attachment of
accessories or extra secure rigging.

The 416 cameras are compatible with most of the accessories used by
their 35 mm siblings, including the ARRI Remote Control Unit RCU-1, External
Display EXD-1, Wireless Remote System, Wireless Remote Control WRC-1 &
WRC-2, Universal Motor Controller UMC-3, Iris Control Unit ICU, Electronic
Synchronization Unit ESU, most follow focus units and matte boxes. They
have also inspired some new accessories, including the Heated Eyecup HE-5,
which automatically closes its iris when the operator is not looking through the
viewnder.

22

Technical Data

ARRIFLEX 416 ARRIFLEX 416 Plus ARRIFLEX 416 Plus HS

Fps

Shutter

Film Format

Film Gate

Lens Mount

Sound

Flange Focal Distance

Movement

Viewnder Eyepiece

Eyepiece Extension

Ground Glass

ARRIGLOW

1-75 1-150

Speed can be varied while camera runs

Ramps possible with Remote Control Unit RCU-1, Wireless Remote Control WRC-1, WRC-2 and Iris Control Unit ICU-1

Manually adjustable to: 45, 90, 135, 144, 150, 172.8, 180 degrees

Super 16 mm, conforming to DIN 15602 and ISO-5768-1998

Super 16 only (12.35 x 7.5 mm, 0.486 x 0.295 inches)

54 mm stainless steel PL mount

< 20 db(A) @ 24 fps <29 db(A) @ 24 fps

52.00 mm -0.01

Silent precision movement, single pull down claw, single registration pin. Pull down pitch adjustable

Same 8x eyepiece as 235

Same short and medium extensions as 235

16SR 3 ber optic screens

RGB ARRIGLOW with custom combination of red, green and blue, separate brightness control on camera left side

[1]

Weight

Power Input

Battery

Accessory Power Outputs

Temperature Range

Magazine

Timecode

[1]

Camera body, viewnder, eyepiece, IVS, magazine and lm

All data subject to change without notice.

5.5 Kg / 12.1 Lbs 5.8 Kg / 12.8 Lbs

24 Vdc nominal, accepts 21 to 35 Vdc

Intelligent 29.6V Lithium-ion On Board Battery OBB-2, lasts 5 magazines and about 2 hours in standby

80 Watt/hours at 950 g / 2 Lbs with built-in power gauge

(comparison: 16SR 3 battery had 29 Watt/hours at 870 g / 1.9 Lbs)

1x 24V RS connector on 416, or 2x 24V RS connector on 416 Plus & 416 Plus HS

1x 24V REMOTE connector

1x 24V Heated Eyecup connector

2x 12V MINI MONITOR connectors on IVS

-20°C to +50°C (+4°F to +122°F)

416 Shoulder Magazine 120/400 (SHM-3), Timecode module optional

Continuous barcode on lm edge, 80 bit according to SMPTE RP 114 (same as on 16SR 3)

Timecode & Userbits window burn in and VITC on video assist possible

23

ARRI | ARRIFLEX 416

Germany

Arnold & Richter Cine Technik (Headquarters, Sales & Service)
Türkenstraße 89, D-80799 Munich, Germany
Tel: [phone], Fax: [phone]

Great Britain

ARRI GB Limited (Sales & Service)
2 Highbridge, Oxford Road, Uxbridge, Middlesex, UB8 1LX, Great Britain
Imaging Equipment Sales: Allan Fyfe, [e-mail]
Tel: [phone], Fax: [phone]

Italy

ARRI Italia S.r.l. (Sales & Service, Milan)
Viale Edison 318, 20099 Sesto San Giovanni (Milano), Italy
General Manager: Antonio Cazzaniga, [e-mail]
Tel: [phone], Fax: [phone]

ARRI Italia S.r.l. (Sales & Service, Rome)
Via Placanica 97, 00040 Morena (Roma), Italy
Camera Sales: Mauro Sembroni, [e-mail]
Tel: [phone], Fax: [phone]

USA

ARRI Inc. (Sales & Service, East Coast)
617 Route 303, Blauvelt, NY 10913-1109, USA
Vice President: Jürgen Schwinzer, [e-mail]
Tel: [phone], Fax: [phone]

ARRI Inc. (Sales & Service, West Coast)
600 North Victory Blvd., Burbank, CA 91502-1639, USA
Vice President: Bill Russell, [e-mail]
Tel: [phone], Fax: [phone]

Canada

ARRI Canada Limited (Sales & Service)
415 Horner Ave. Unit 11 & 12, Toronto, Ontario M8W 4W3, Canada
Accounts Manager, Camera & Digital Systems:
Sébastien Laffoux, [e-mail]
Tel: [phone], Fax: [phone]

Asia

ARRI Asia Limited
Office 3B on 29/F, The Centrium, 60 Wyndham Street, Central, Hong Kong
General Manager: Paul Ivan, [e-mail]
Tel: [phone], Fax: [phone]

Australia

ARRI Australia PTY Limited
Unit 6C, 5 Talavera Road, Macquarie Park NSW 2113, Sydney, Australia
General Manager: Stefan Sedlmeier, [e-mail]
Tel: [phone], Fax: [phone]

This ARRI FLEX 416 produc t brochure (K5.40 459.0) is publishe d by Arnol d & Richter C ine Technik, A pril 01, 2008 © A RRI/20 08

Technical da ta and of ferings a re subjec t to change without n otice. A ll rights r eserv ed. With out any warr anty. Not bi nding 04 /200 8. ARRI is a re gistered tradem ark of Arn old & Rich ter Cine Techni k GmbH & Co. Bet riebs KG.

Arnold & Richter Cine Technik GmbH & Co. Be trieb s KG · Türkenstrasse 8 9 · D-80799 Munich · pho ne [phone] · fa x [phone] · ww w.arri.com