On the heels of the very successful launch of the ARRIFLEX 416 Plus in 2006, we are now introducing the ARRIFLEX 416 Plus High Speed, offering higher frame rates for slow-motion shots.
In 2006, significant improvements to Super 16 image quality were made through advances in lenses, film stock and post technology. This led to a remarkable renaissance of the Super 16 format and the debut of the ARRIFLEX 416 and 416 Plus cameras.
Since then the interest in and the use of Super 16 has grown with more technological advances, pushing Super 16 even further. New film stocks expand the exposure latitude of film and new Ultra 16 lenses give cinema- tographers a complete set of nine Super 16 prime lenses from 6 to 50 mm. In post, the ARRISCAN will scan an oversampled 3k image for a pristine 2k output, optionally with a wet gate and/or DICE. New de-grain- ing options make the images more palatable for those finicky encoders.
Stunning Results in Super 16
Super 16 is now routinely used for standard and high definition television productions, feature films, commercials and documentaries with stunning results. By shooting Super 16, productions gain many of the advantages of shooting film – the film look, its unsurpassed exposure latitude, natural color reproduction, variable camera speeds, ramps, proven archivability and film being the only worldwide accepted standard format – at affordable production costs. The small size and light weight of Super 16 equipment has the extra benefit of easy portability for fastpaced production environments.
High Speed “Plus”
Based on strong market demand, we are now introducing the ARRIFLEX 416 Plus HS. This new camera shares most of the features that have made the 416 and 416 Plus so popular in a very short span of time. It sports the same 35-style viewfinder, high quality video assist, compact and lightweight build and the same ergonomic design. Available only in a “Plus” version, the 416 Plus HS is equip- ped with integrated accessory electronics. This eliminates extra boxes and cables needed for connecting lens motors and remotely controlling camera and lens through the ARRI Wireless Remote System.
The 416 Plus HS also uses the same magazines as the 416 Plus. Unlike the 16SR series of cameras, which needed different magazines for high speed, the 416 magazines have proven completely up to the high speed task, simplifying equipment management in the rental house and on the set.
In order to increase the frame rate, however, three components of the camera had to be completely re-designed: the motor, the shutter and the suspension of the inner skeleton within the outer housing. To pull film faster through the camera, a new motor had to be developed. Specially wound coils provide faster running while not increasing the size of the motor or the vibrations it produces.
At higher frame rates, any vibration created by the camera can re-duce image steadiness, and thus resolution. To ensure a steady image even at higher speeds, the mirror shutter of the 416 Plus had to be completely rethought. While the 416 Plus mirror shutter has already been dynamically balanced, the number of balancing adjustments for the 416 Plus HS mirror shutter was dramatically increased. Many more tiny counterweights allow the ARRI camera assembly department to fine-tune the shutter balancing four times as accurately as was possible with the 416 Plus shutter.
Last but not least the suspension between the 416 inner skeleton and the camera body‘s outer housing had to be made stiffer, again to reduce vibrations for a crisp and sharp image. All these changes combined make the 416 Plus HS the most advanced high speed 16 mm camera available.
Link : http://www.arri.de/entry/news.htm
In 2006, significant improvements to Super 16 image quality were made through advances in lenses, film stock and post technology. This led to a remarkable renaissance of the Super 16 format and the debut of the ARRIFLEX 416 and 416 Plus cameras.
Since then the interest in and the use of Super 16 has grown with more technological advances, pushing Super 16 even further. New film stocks expand the exposure latitude of film and new Ultra 16 lenses give cinema- tographers a complete set of nine Super 16 prime lenses from 6 to 50 mm. In post, the ARRISCAN will scan an oversampled 3k image for a pristine 2k output, optionally with a wet gate and/or DICE. New de-grain- ing options make the images more palatable for those finicky encoders.
Stunning Results in Super 16
Super 16 is now routinely used for standard and high definition television productions, feature films, commercials and documentaries with stunning results. By shooting Super 16, productions gain many of the advantages of shooting film – the film look, its unsurpassed exposure latitude, natural color reproduction, variable camera speeds, ramps, proven archivability and film being the only worldwide accepted standard format – at affordable production costs. The small size and light weight of Super 16 equipment has the extra benefit of easy portability for fastpaced production environments.
High Speed “Plus”
Based on strong market demand, we are now introducing the ARRIFLEX 416 Plus HS. This new camera shares most of the features that have made the 416 and 416 Plus so popular in a very short span of time. It sports the same 35-style viewfinder, high quality video assist, compact and lightweight build and the same ergonomic design. Available only in a “Plus” version, the 416 Plus HS is equip- ped with integrated accessory electronics. This eliminates extra boxes and cables needed for connecting lens motors and remotely controlling camera and lens through the ARRI Wireless Remote System.
The 416 Plus HS also uses the same magazines as the 416 Plus. Unlike the 16SR series of cameras, which needed different magazines for high speed, the 416 magazines have proven completely up to the high speed task, simplifying equipment management in the rental house and on the set.
In order to increase the frame rate, however, three components of the camera had to be completely re-designed: the motor, the shutter and the suspension of the inner skeleton within the outer housing. To pull film faster through the camera, a new motor had to be developed. Specially wound coils provide faster running while not increasing the size of the motor or the vibrations it produces.
At higher frame rates, any vibration created by the camera can re-duce image steadiness, and thus resolution. To ensure a steady image even at higher speeds, the mirror shutter of the 416 Plus had to be completely rethought. While the 416 Plus mirror shutter has already been dynamically balanced, the number of balancing adjustments for the 416 Plus HS mirror shutter was dramatically increased. Many more tiny counterweights allow the ARRI camera assembly department to fine-tune the shutter balancing four times as accurately as was possible with the 416 Plus shutter.
Last but not least the suspension between the 416 inner skeleton and the camera body‘s outer housing had to be made stiffer, again to reduce vibrations for a crisp and sharp image. All these changes combined make the 416 Plus HS the most advanced high speed 16 mm camera available.
Link : http://www.arri.de/entry/news.htm
No comments:
Post a Comment