Jump to content


Photo

416


  • Please log in to reply
37 replies to this topic

#1 Jon Kukla

Jon Kukla
  • Basic Members
  • PipPipPipPip
  • 399 posts
  • Other

Posted 31 March 2006 - 01:42 PM

And it's not the SR4.

Enjoy NAB.
  • 0

#2 Chance Shirley

Chance Shirley
  • Basic Members
  • PipPipPipPip
  • 256 posts
  • Director

Posted 31 March 2006 - 03:13 PM

And it's not the SR4.


No other hints or details?
  • 0

#3 Tim Carroll

Tim Carroll
  • Sustaining Members
  • 2165 posts
  • Other
  • Chicago, Illinois

Posted 31 March 2006 - 03:22 PM

No other hints or details?


Per Jon Fauer in Special NAB Supplement to American Cinematographer:

"None of this is official Arri information...I think that this camera, Arri's 4th generation coaxial magazine Super 16mm camera, is going to be huge...smaller and lighter than the 16SR3, according to sources...Not an upgrade of the 16SR3...seems to be a completely redesigned camera, incorporating some familiar features of Arri's 35mm format cameras like the 235, 435 and Arricam."

To read more, pick up the April issue of American Cinematographer and make sure it has the Film and Digital Times supplement.

-Tim Carroll
  • 0

#4 Logan Schneider

Logan Schneider
  • Basic Members
  • PipPipPip
  • 133 posts
  • Cinematographer
  • Bozeman, MT

Posted 31 March 2006 - 03:23 PM

From what I've heard the primary reason for the 416 was a desire for a brighter viewfinder and video tap. The magazines will not be compatable with SRs. It's a whole new design, but it won't put sr3s out of work.

Logan Schneider
dp
  • 0

#5 Laurent Andrieux

Laurent Andrieux
  • Sustaining Members
  • 1527 posts
  • Cinematographer
  • France

Posted 31 March 2006 - 03:44 PM

Funny they gave the name of a famous microphone !
  • 0

#6 Tim Carroll

Tim Carroll
  • Sustaining Members
  • 2165 posts
  • Other
  • Chicago, Illinois

Posted 31 March 2006 - 04:29 PM

Funny they gave the name of a famous microphone !


I'm thinking 216 (not 416) because the article made it sound more like a Super 16mm version of the 235.

-Tim
  • 0

#7 Robert Edge

Robert Edge
  • Sustaining Members
  • 401 posts
  • Other

Posted 31 March 2006 - 04:40 PM

No doubt you guys have noticed that 416 = for 16.
  • 0

#8 Laurent Andrieux

Laurent Andrieux
  • Sustaining Members
  • 1527 posts
  • Cinematographer
  • France

Posted 31 March 2006 - 05:02 PM

And certainly the 4 in the begin is constructed like 535, 435 and 235 names for 35 mm were constructed
  • 0

#9 Eric Steelberg ASC

Eric Steelberg ASC
  • Basic Members
  • PipPipPipPip
  • 538 posts
  • Cinematographer
  • Los Angeles, CA

Posted 31 March 2006 - 09:37 PM

They're doing a pre-NAB preview of it and some other new products in a couple weeks. I'll let you know what I find out about it.
  • 0

#10 Adam Price

Adam Price
  • Guests

Posted 21 April 2006 - 01:33 PM

The new 416 info is out -- Fletcher chicago has a bunch of the information on their site www.fletch.com
  • 0

#11 Chris Fernando

Chris Fernando
  • Basic Members
  • PipPipPip
  • 148 posts
  • 1st Assistant Camera

Posted 21 April 2006 - 01:49 PM

Sounds and looks like the A-Minima
  • 0

#12 Tim Carroll

Tim Carroll
  • Sustaining Members
  • 2165 posts
  • Other
  • Chicago, Illinois

Posted 21 April 2006 - 02:11 PM

Looks like the offspring from a marriage of the A-Minima and the A-Cam.

Posted Image

Looking forward to seeing it in person at NAB.

-Tim
  • 0

#13 Ian Marks

Ian Marks
  • Guests

Posted 21 April 2006 - 02:41 PM

Isn't film supposed to be in its death throes? I never thought I'd see an all-new design for a 16mm camera again in my life, but I'm glad to be wrong!

That coax mag looks small to me - is that a 200-footer?

Edited by Ian Marks, 21 April 2006 - 02:44 PM.

  • 0

#14 Tim Carroll

Tim Carroll
  • Sustaining Members
  • 2165 posts
  • Other
  • Chicago, Illinois

Posted 21 April 2006 - 03:22 PM

Isn't film supposed to be in its death throes? I never thought I'd see an all-new design for a 16mm camera again in my life, but I'm glad to be wrong!

That coax mag looks small to me - is that a 200-footer?


The Fletcher specs say it is a 400 ft magazine, which leads me to believe it is probably a good step up in size from the A-Minima, as the Minima's mag is 200 ft. So just scale the picture up. Still not a big camera and they mention that it is good for shoulder shooting. Would love to have one. Wonder what it will sell for?

-Tim
  • 0

#15 Frank DiBugnara

Frank DiBugnara
  • Basic Members
  • PipPipPip
  • 168 posts

Posted 22 April 2006 - 05:55 PM

It looks like a small BL-4.

I read the description on the Fletcher site and can't seem to figure out what is going to set it apart from an SR3 Advanced. The description says that it includes more of the features that are found with Arri's new 35mm cameras, but I'm not quite sure what those might be. The SR3 Advanced already comes with a tap like that found on a 435. The viewing system is very bright on the SR3A and the tap seems to be getting all the light it needs. 416 only goes to 75 fps. And the SR3A does speed ramps and hooks up to an RCU, etc....Perhaps there will be a lens data system? Slate on film?

With the 416 you still have to change the shutter angle manually. Perhaps it is smaller and lighter than the SR3? It looks like it is more quiet. Any difference in the film gate or movement for a steadier image? I wonder if this is meant to be a replacement for the SR3? Is the SR3 still in production?
  • 0

#16 Luke Prendergast

Luke Prendergast
  • Sustaining Members
  • 491 posts
  • Cinematographer
  • Victoria Australia

Posted 22 April 2006 - 07:16 PM

What do you suppose that antenna's for?
  • 0

#17 Brad Grimmett

Brad Grimmett
  • Sustaining Members
  • 2660 posts
  • Steadicam Operator
  • Los Angeles

Posted 22 April 2006 - 07:26 PM

Hmm, interesting question. Could it be a built in wireless video assist? That would be great.
  • 0

#18 Annie Wengenroth

Annie Wengenroth
  • Basic Members
  • PipPipPipPip
  • 653 posts
  • Sound Department
  • Brooklyn, NY

Posted 22 April 2006 - 09:59 PM

Film in its death throes? Wha?

I'm wondering about the sound-dampening components and whether they are inside the camera or the mag. Hard to tell from the photos.

I work at CSC...I'll keep you guys posted. We might not see one here in NYC until late fall, but who knows.
  • 0

#19 Brad Grimmett

Brad Grimmett
  • Sustaining Members
  • 2660 posts
  • Steadicam Operator
  • Los Angeles

Posted 23 April 2006 - 08:07 PM

Arri has said they'll have specs and info up on their site at the beginning of NAB, which is tommorrow.
  • 0

#20 Wendell_Greene

Wendell_Greene
  • Sustaining Members
  • 545 posts
  • Other

Posted 24 April 2006 - 08:22 AM

Arri has said they'll have specs and info up on their site at the beginning of NAB, which is tommorrow.


The ARRIFLEX 416 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, integrated electronic accessories and compatibility with the same lenses and accessories used by its 35 mm siblings make the 416 the most powerful, flexible and portable Super 16 camera ever built.

MAIN FEATURES

The Quietest 16 mm Camera

- sound less than 20 dbA
- 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

PRELIMINARY TECHNICAL DATA

FPS: 1 to 75 fps
Speed can be varied while camera runs
Ramps possible with Remote Control Unit RCU-1, Wireless Remote Control WRC-1 and Iris Control Unit ICU-1.

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

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

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

Lens mount: 54 mm stainless steel PL mount

Sound: < 20 dbA @ 24 fps

Flange focal distance: 52.00 mm -0.01

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

Viewfinder eyepiece: Same 8x eyepiece as Arri 235

Eyepiece extension: Same short and medium extensions as Arri 235

Ground glass: 16SR3 fiber optic screens

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

Weight: Camera body, viewfinder, eyepiece, IVS, magazine and film: about 5.5 Kg/12.1 Lbs; that is 25% less than a 16SR3 in a similar configuration

Power input: 24 Vdc nominal, accepts 21 to 35 Vdc

Battery: 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: 16SR3 battery had 29 Watt/hours at 870 g/1.9 Lbs)

Certified for legal transport in airplanes

Accessory power outputs: 1x 24V RS connector on 416, or 2x 24V RS connector on 416 Plus

1x 24V REMOTE connector

1x 24V Heated Eyecup connector

2x 12V MINI MONITOR connectors on IVS

Temperature range: -20°C to +50°C (+4°F to +122°F)

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

Timecode: Continuous barcode on film edge, 80 bit according to SMPTE RP 114 (same as on 16SR3). Timecode & Userbits window burn in and VITC on video assist possible.
  • 0


Visual Products

Metropolis Post

Abel Cine

Media Blackout - Custom Cables and AKS

Opal

Technodolly

Glidecam

rebotnix Technologies

Gamma Ray Digital Inc

Willys Widgets

Rig Wheels Passport

Paralinx LLC

The Slider

Tai Audio

CineLab

FJS International, LLC

Wooden Camera

Broadcast Solutions Inc

CineTape

Aerial Filmworks

Ritter Battery

FJS International, LLC

Glidecam

Willys Widgets

Technodolly

CineTape

Tai Audio

Opal

Wooden Camera

Abel Cine

The Slider

Metropolis Post

Media Blackout - Custom Cables and AKS

Paralinx LLC

Gamma Ray Digital Inc

Aerial Filmworks

Rig Wheels Passport

Broadcast Solutions Inc

CineLab

Visual Products

Ritter Battery

rebotnix Technologies