One of the biggest surprises of the first half of the year was the launch, by Arri, of a Super 16 format cinema camera. The Arriflex 416 is a compact, modern and lightweight camera, with functionalities previously found only in 35 mm cameras. It has variable speed from 1 to 75 fps, integrated electronic accessories and compatibility with lenses and accessories used in 35 cameras.
New 16mm films, advances in lenses and post-production technology make the Super 16 format deliver unprecedented image quality and production efficiency. This format is widely used in high-definition television productions, motion pictures, commercial production and documentaries. It has the advantages of acquisition in film, at a lower cost of production.
Arri promotes the 416 in a digital intermediate post-production environment, for which he claims that images shot with this camera can be digitized with an Arriscan to produce 2k resolution images, 4:4:4 RGB without compression, complying with 2k DCI specifications.
The speed of the camera can be carried up to 75 fps recording on the same film at 24 pfs, without compression and in the highest resolution. This camera uses standard cinema lenses with PL mount.
The viewfinder of the camera is optical, as in the rest of Arri's cameras. Manufacturers claim that optical viewfinders are more comfortable, accurate and work in a more efficient way.
Another point that Arri highlights is the fact that the camera's image sensor, in this case the film, can be changed in less than a minute. This is what it takes to load the magazine with a new movie. From this perspective, the sensor can be changed at any time, ensuring compatibility with future sensor technologies (e.g. new types of 16mm film).
Finally, Arri announced that TV Azteca installed the first Arriscan scanner in Latin America. The digital intermediate suite is in the Churubusco studio complex and has a special 16mm film ticket.
