Providing the look of film in a small, lightweight camera package using less expensive Super 16 film. Looks great transferred to HD.
The Arriflex 16SR-1 (Silent Reflex) was introduced in 1975 and was immediately hailed as a huge improvement over anything that came before in both performance and usability, The camera was compact, quiet, had superb registration (image steadiness), very precise flange focal depth for the sharpest possible image, coaxial magazines, on board batteries, and a far better viewing system that featured brighter fiber optic viewing screens instead of ground glasses as well as a viewfinder that can rotate up and down, swing to either side of the camera and even pivot out while maintaining a upright image. The SR was also great for handheld shooting as it sits on the shoulder with the eyepiece lining up perfectly with the operators eye. It was instrumental in changing the perception of 16mm film from a home movie and news gathering format to a fully professional film format that was good enough to use for TV shows, documentaries and even feature films.
The Arri SR was in production for 30 years and many versions were made. The original SR-1 had a French motor and electronics which was soon replaced by a more reliable German motor and electronics which was used in later SR-1s and all other SR cameras onward. In all 4 versions of the standard camera were made including the SR-1, SR-2, SR-3 and SR-3 advanced. In addition Super 16 versions were made as well as highspeed versions. All SR-3s were Super 16 from the factory. The SR was discontinued in 2006 when Arriflex introduced the 416. The SR is still the most popular 16mm camera worldwide due to it’s superb image steadiness, quiet operation and incredible reliability.
Over the years many camera technicians have converted older 16mm SR cameras to Super 16 including the great Axel Broda. Axel Broda’s conversion uses a SR-3 pulldown, SR-3 Super 16 gate, PL mount and maintains the 180 degree mirror shutter unlike most other conversions that switch to a 172.8 degree shutter. It provides all the performance of a SR-3 Super 16 at a more affordable price.
Super 16 is a great choice for low budget features and short films, It provides the look of film at a much more affordable price than 35mm with a more compact and lighter camera package. Well known feature films that were shot on Super 16 include The Station Agent, Moonrise Kingdom, The Hurt Locker, Leaving Las Vegas, Black Swan, The Wrestler, Beasts Of the Southern Wild and Carol.
My Arriflex SR camera can be set up to shoot Super 16 in the 1.66, 1.78 or 1.85 aspect ratio or Regular 16 1.33 aspect ratio.
Arriflex SR camera package:
Arriflex SR-1 Super 16 camera with German motor and electronics and Cinema Electronics speed control. Camera uses a SR-3 Super 16 gate, SR-3 pulldown, PL mount and 180 degree mirror/shutter. Super 16 conversion by Axel Broda.
3 Super 16 400′ magazines, choice of fiber optic viewing screen, lightweight rods, follow focus, matte box, right handgrip, B+W video tap, 15″ monitor, 2 batteries with charger and barney.
Zeiss 9.5, 12, 16, 25mm T1.3 superspeed set
Oconnor 1030 head
Oconnor 35L Quick Deployment tripod with midleg spreader
Peter Lisand baby legs with midleg spreader
85, 85ND.3, 85ND.6, 85ND.9
ND.3, .6, .9, 1.2
Warm Pro Mist 1/8, ¼, ½
White Pro Mist 1/8, ¼, ½