ARRI ARRIFLEX 416 Manuale Utente

                   The 416 uses a completely new sound insulation design that makes it as quiet as an ARRICAM. An inner skeleton i

u 

SMALLLIGHT &SILENT

ARRIFLEX 416 Plus with extended electronicsn n 

                          One of the reasons cinematographers and producers with demanding schedules choose to shoot Super

                The 416 uses the industry standard 54 mm stainless steel PL mount. The stable backfo-cus afforded by the PL mount and

The Ultra Primes: 8, 10, 12, 14, 16, 20, 24, 28, 32, 40, 50, 65, 85, 100, 135, 180 mmThe Ultra 16 lenses: wide & fast at 6, 8, 9.5, 12 and 14 mm,

              The simple to use control panel on the 416 should be familiar to anyone who has ever worked with a modern ARRI camera, si



                                      Advances in lenses, film stock and post production technology have elevate

                    The ARRIFLEX 416 is complemented by a range of new and existing accessories that follow the same design philo

                           

   

© Johannes Polta

            n35-style Viewnder   

                    To get the images you want, first you have to see them clearly. Especially in 16 mm, the quality of the viewfin



u Mirror Shutter

                                   Optical viewfinders, as used in all ARRI cameras, provide by far the most com-fo

           With the new RGB ARRIGLOW, you can choose any color you like. Set evenly illuminated framelines in magenta when shooting green

                              n n n n 