ARRI ARRIFLEX 416 инструкция обслуживания

Quiet, Bright and Light ARRIFLEX 416[...]

2 35 F ormat F ea tures in a Super 16 Camer a Continuous advances in lenses, lm stock and postpr oduction technologies hav e elevated the Super 16 lm f ormat to new lev els of image quality and production efciency . Super 16 is no w routinely used for standard and high denition tele vision productions, feature lms, commercials and do[...]

3 ARRI | ARRIFLEX 416 Main F eatur es n 35-style Vie wnder · brighter , higher contrast, higher resolution · bigger exit pupil allows more e ye mov ement · multi-color RGB ARRIGL OW · accommodates even wide diameter PL mount lenses · excellent optical quality with e yepiece extension n The Quietest 16 mm Camer a · 416 & 416 Pl[...]

4 I Can See Clearly Now T o capture the images you w ant, you hav e rst to see them clearly . So viewnder quality is crucial if an operator is to accurately app- raise images, especially with 16 mm. The optical vie wnder on the 416 cameras makes it easy to judge f ocus, create a precise image composition, and work comf ortably and efcie[...]

5 ARRI | ARRIFLEX 416 The ARRIFLEX 416 cameras' optical vie w- nder uses a completely new optical design, resulting in signicantly higher contrast, higher resolution and a brighter image.[...]

6 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 cov ers 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 leav es the light path open[...]

7 ARRI | ARRIFLEX 416 Advantages of Optical V iewnders Optical viewnder s, as used in all ARRI cameras, provide by f ar the most comfortable, accurate and efcient w ay to work when capturing images. Operators see a bright and sharp, full color image and are able to accurately judge focus. By their v ery nature, optical viewnders ha ve z[...]

8 RGB ARRIGL OW With the ne w RGB ARRIGLOW , you can choose any color y ou like. Set ev enly illuminated framelines in magenta when shooting green screen, red for jungle or yello w for blue skies. Y ou can, of course, also mix your o wn ARRIGL OW grey . Integra ted V ideo Assist The 416 cameras' vie wnder is accompanied by a video assist wi[...]

9 ARRI | ARRIFLEX 416 Mix Y our Own RGB ARRIGLOW Color n Use magenta for green screen n Red for jungle n Y ellow for blue skies n Mix your own gre y HDTV 1.78 HDTV 1.78 HDTV 1.78 HDTV 1.78 ARRIFLEX 416 Vie wfinder Image n Higher contrast, higher resolution, brighter image n Easier to judge focus on the set n?[...]

10 T he Sound of Silence The 416 cameras use a completely ne w sound insulation design that makes the 416 and 416 Plus as quiet as an ARRIC AM and allows the 416 Plus HS to record a very stable image ev en at higher frame rates. An inner skeleton is suspended by symme- trically positioned rubber insulators in an outer shell. T he camera's move[...]

11 ARRI | ARRIFLEX 416 The magazine is driv en by an internal silent motor and uses the same insulating technique as the camera body , ensuring completely quiet operation. u body outer shell v body inner skeleton w body rubber insulators x magazine outer shell y magazine inner skeleton U magazine rubber insulators 4 5 2 6 1 6[...]

QUIET BRIGHT & LIGHT[...]

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14 ARRIFLEX 416 Models ARRIFLEX 416 Super silent and equipped with basic electronics A RRIFLEX 416 Plus Super silent & exible with built -in accessory electronics and radio for wireless remote control ARRIFLEX 416 Plus HS Super fast for slo w-motion effects with built-in accessory electr onics and radio for wireless remote control Speed Rang[...]

15 ARRI | ARRIFLEX 416 Compact, Lightweight and F ast One of the reasons cinematographers and producer s with demanding schedules choose to shoot Super 16 is the faster pr oduction 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 . T [...]

16 PL Mount and Lenses The 416 cameras use the industry standard 54 mm stainless steel PL mount. T he stable backfocus aff orded by the PL mount and by the robust camera construction is a hallmark of all ARRI lm cameras. The PL mount mak es the vast selection of high quality lenses f or the Super 16 and 35 mm formats a vailable to the ARRIFLEX 4[...]

17 ARRI | ARRIFLEX 416 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 The Ultra 16 lenses: 6, 8, 9.5, 12, 14, 18, 25, 35 and 50 mm, all T1.3[...]

18 Control and P ow er The simple to use contr ol panel on the 416 range should be familiar to any one who has ever w orked with a modern ARRI camera, since the 416 cameras hav e 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 oper[...]

19 ARRI | ARRIFLEX 416 The OBB-2 connects to the 416 cameras thr ough a new , but backwards-compatible pow er connector.[...]

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21 ARRI | ARRIFLEX 416 T he 416 Camera System The ARRIFLEX 416 cameras are complemented b y a range of new and existing accessories that follo w the same design philosophy used in the creation of the 416 body and magazines: increasing efciency on the set. T wo handles ha ve been designed: one for normal use, one f or remote. These include such d[...]

22 T echnical Data ARRIFLEX 416 ARRIFLEX 416 Plus ARRIFLEX 416 Plus HS Fps 1-75 1-150 Speed can be varied while camera runs Ramps possible with Remote Control Unit RCU-1, W ireless Remote Control WRC-1, WRC-2 and Iris Contr ol Unit ICU-1 Shutter Manually adjustable to: 45, 90, 135, 144, 150, 172.8, 180 degrees Film F ormat Super 16 mm, conforming t[...]

23 ARRI | ARRIFLEX 416[...]

Thi s AR RIFL E X 41 6 pr od uc t br oc hur e (K5. 40 4 59.0 ) is pu bli sh ed by A rn ol d & Ric hte r Cin e Techni k, A pr il 01, 200 8 © AR RI /20 0 8 Techni ca l dat a an d of fe rin gs ar e sub je ct to c ha nge w it hou t not ic e. A ll ri ght s re se r ved . Wi tho ut any w arr an ty. No t bin din g 04 / 20 08 . AR RI is a r eg ist er e[...]