The ARRIFLEX 416 cameras' optical view- finder uses a completely new optical design, resulting in significantly higher contrast, higher resolution and a brighter image.

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Continuous advances in lenses, film stock and postproduction technologies have elevated the Super 16 film format to new levels of image quality and production efficiency. Super 16 is now routinely used for standard and high definition television productions, feature films, commercials and documentaries, and 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 the fact that film is the only globally 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 fast-paced production environments.

In response to market demand, ARRI is offering three new Super 16 cameras: the ARRIFLEX 416, 416 Plus and 416 Plus HS. Based on years of camera engineering, market research and focus groups with renowned industry professionals, the ARRIFLEX 416 cameras make features previously only found in high end 35 mm cameras available to Super 16 productions.

All three ARRIFLEX 416s are lightweight, modern Super 16 film cameras, each with a 35-style viewfinder and a mirror shutter that can be manually adjusted from 45 to 180 degrees. The 416 and 416 Plus have an amazingly low sound level similar to that of the ARRICAM. Their speed range is from 1 to 75 fps, while the 416 Plus HS runs from 1 to 150 fps. A completely new lightweight ergonomic design, integrated electronic accessories in the Plus cameras and compatibili- ty with the same lenses and accessories used by their 35 mm siblings make the 416 cameras the most powerful, flexible and portable Super 16 cameras ever built.



Speed can be varied while camera runs
Ramps possible with Remote Control Unit RCU-1, Wireless Remote Control WRC-1, WRC-2 and Iris Control Unit ICU-1
Manually adjustable to: 45, 90, 135, 144, 150, 172.8, 180 degrees
Film Format
Super 16 mm, conforming to DIN 15602 and ISO-5768-1998
Film Gate
Super 16 only (12.35 x 7.5 mm, 0.486 x 0.295 inches)
Lens Mount
54 mm stainless steel PL mount
< 20 db(A) @ 24 fps
Flange Focal Distance
52.00 mm -0.01
Silent precision movement, single pull down claw, single registration pin. Pull down pitch adjustable
Viewfinder Eyepiece
Same 8x eyepiece as 235
Eyepiece Extension
Same short and medium extensions as 235
Ground Glass
16SR 3 fiber optic screens
RGB ARRIGLOW with custom combination of red, green and blue, separate brightness control on camera left side
Weight [1]
5.5 kg/12.1 lbs (ARRIFLEX 416)
5.8 kg/12.8 lbs (ARRIFLEX 416 Plus)
Power Input
24 Vdc nominal, accepts 21 to 35 Vdc
Intelligent 29.6 V Lithium-ion On Board Battery OBB-2, lasts 5 magazines and about 2 hours in standby
80 Watt/hours at 950 g / 2 Lbs with built-in power gauge
(comparison: 16SR 3 battery had 29 Watt/hours at 870 g / 1.9 Lbs)
Accessory Power Outputs
1x 24 V RS connector on 416, or 2x 24 V RS connector on 416 Plus & 416 Plus HS
1x 24 V REMOTE connector
1x 24 V Heated Eyecup connector
2x 12 V MINI MONITOR connectors on IVS
Temperature Range
-20°C to +50°C (+4°F to +122°F)
416 Shoulder Magazine 120/400 (SHM-3), Timecode module optional
Continuous barcode on film edge, 80 bit according to SMPTE RP 114 (same as on 16SR 3)
Timecode & Userbits window burn in and VITC on video assist possible