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Arri 416 Super 16 camera


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Anybody work with these? According to the web (cameramen) blogs they are quiet. I would be grateful for any shared experience.

 

Here's the quote:

 

"The SR3 Advanced had a noise specification of between 20 dbA and 22 dbA. The 416 has a noise specification of below 20 dbA. This was accomplished by using rubber insulators to hold the camera body's inner skeleton and by having the internal skeleton of the magazine also held by rubber insulators. The magazine is also not driven anymore by a gear from the camera, but by its own silent motor. Running the camera containing a 400 foot load running at 24 fps, I had to press my ear against the side of the camera to tell if it was running, and even then I could barely discern a whispered purr. The camera is amazingly quiet."

 

?Panaflex is listed at around 25db with film. Hard to believe the 416 could be that much more quiet.

 

Thanks,

 

Geoff

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Great camera, one of the best Super 16mm cameras ever. Assuming you can get the film developed, it could theoretically still shoot decent pictures.

 

Having said that: my personal opinion is that the best HD generally looks better than 16mm in most ways, but 16mm is more forgiving for screw-ups. 

 

You'd get a much wider range of opinions on (the other) Geoff Boyle's Cinematography Mailing List, elsewhere on the web.

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The SR3 is a nice camera. Not as silent as an Alexa of course, but hardly noticable unless in quiet rooms for quiet scenes with camera close to actors. In those cases I would make the AC use a barney and you should have no problems. Make sure you can hear the cam rolling before production starts so adjustments could be made in case of faulty behavior (see Vin's and Justin's posts).

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416 with properly loaded mags is basically inaudible outdoors, and indoors you need very quiet scenes and the camera very close to the actors to make camera noise a problem. Even then its noise is way less annoying than a Red.

 

If a 416 is loud, probably the clapper loader did a bad job.

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Great camera, one of the best Super 16mm cameras ever. Assuming you can get the film developed, it could theoretically still shoot decent pictures.

 

Having said that: my personal opinion is that the best HD generally looks better than 16mm in most ways, but 16mm is more forgiving for screw-ups. 

 

You'd get a much wider range of opinions on (the other) Geoff Boyle's Cinematography Mailing List, elsewhere on the web.

 

Sony F65 and ARRI  to my eyes is the only Digital camera that can look some what convincing next to film. War Horse is a good example of Film,   and i'd say  Game of Thrones is one of the better looking Digital...  (Arri Alexa),    

But I don't think film can be out down for just out right cinematic brilliance,    

 

What are your favorite digital examples,  i'm definately seeing more and more that look nice,  just not there with film for me....   

sorry off topic :-)

 

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What are your favorite digital examples,  i'm definately seeing more and more that look nice,  just not there with film for me....   

 

Gravity looked bloody brilliant to me, and it was half Alexa and half digital art created by VFX technicians! So it's all in the execution, plus the work of the director and cinematographer supervising the work.

 

From what I've seen up to 2014, speaking with my post-production hat on, I think if I had to choose any camera in the world, I'd do a bake-off between the Alexa and the Sony F55, shoot the same scenes back to back, take it through post, and then look at them projected and make a decision. I think they're both good in different ways. But I also think there'll be another dozen more good choices at NAB in April.

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Gravity looked bloody brilliant to me, and it was half Alexa and half digital art created by VFX technicians! So it's all in the execution, plus the work of the director and cinematographer supervising the work.

 

From what I've seen up to 2014, speaking with my post-production hat on, I think if I had to choose any camera in the world, I'd do a bake-off between the Alexa and the Sony F55, shoot the same scenes back to back, take it through post, and then look at them projected and make a decision. I think they're both good in different ways. But I also think there'll be another dozen more good choices at NAB in April.

 

Good to hear someone with similar taste,  Alexa and F65 to me are clearly superior to Red, which to date I haven't seen anything I like.  (and we own 2 epic's... It didn't have my vote)

 

The new Dragon may spell a different story.

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I work at a school in Orlando and the department I used to work in we have the first 4 production models of ARRI 416s right after it was debuted at NAB. In incredible camera that can too late in my opinion. Yes incredibly quiet and I've never been able to hear the camera ever. You can't tell it's running unless you see the running light or if you put you hands on the mag you can feel it moving. They really should have made this camera 20 years ago it would have been the GoTo camera. Seems so wasteful they really only had it made for a span of 7 years than Alexa gave birth. Can't talk great enough about it. I was lucky enough to have the great experience been at the ARRI booth in 2006 when

It first debuted and I got to hold it on my shoulder before most if the world saw it. Yeah, a sound guy getting gushy over a camera....imagine that.

Sent from my iPhone using Tapatalk

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They really should have made this camera 20 years ago it would have been the GoTo camera. Seems so wasteful they really only had it made for a span of 7 years than Alexa gave birth. Can't talk great enough about it. I was lucky enough to have the great experience been at the ARRI booth in 2006 when It first debuted and I got to hold it on my shoulder before most if the world saw it. Yeah, a sound guy getting gushy over a camera... imagine that.

 

I think they would have made it back in 1994 if they could have, but film camera changes evolved slowly over time, since everything had to be custom machined and engineered by small companies who manufactured essentially handmade products (like Arri, Panavision, and many others). And the reality was, once Kodak was torpedoed by the double-whammy of the 2007-2008 WGA strike and the SAG slowdown, and almost all of TV production dropped film for digital, the market for film cameras and labs began to vanish, almost overnight.

 

I know: I was at Technicolor when it happened, and we went from being a bustling, extremely-busy 24/7 post company to only having enough work to keep the lights on maybe 10 hours a day. That was a sad change, and it happened to hundreds of companies all over the world. Many of us saw this paradigm shift coming, but even I didn't think it would happen for at least another 5 years. The change happened because of the economy, not because of technology per se.

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Great camera, one of the best Super 16mm cameras ever. Assuming you can get the film developed, it could theoretically still shoot decent pictures.

 

Having said that: my personal opinion is that the best HD generally looks better than 16mm in most ways, but 16mm is more forgiving for screw-ups. 

 

You'd get a much wider range of opinions on (the other) Geoff Boyle's Cinematography Mailing List, elsewhere on the web.

Moonrise Kingdom was super 16.

I think it looks great.

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