ARRIFLEX 'High Speed' 16SR2

Technical Specifications

ARRIFLEX 16SR2 High Speed Camera Kit

• TTL Semi-Auto Exposure
• Crystal Motor variable speed 5-150 f.p.s
• VSU 5-75 f.p.s.
• 2 x 400' Magazines
• 3 x 12v 1.2Ah Batteries
• Charger
• Changing Bag
• Super 16 - with 1.66 or Combo Ground Glass & 172.8° Shutter

Arriflex 16SR II, 16SR II-E, 16SR II HS: 1982

As the evolution of the 16SR I continued, ARRI began to add features to the camera. A new ARRI Precision Exposure Control (APEC) was added that automatically detected the camera’s speed, making it unnecessary for the user to set a frame rate (fps) on the meter as with the SR-1. Extra sound insulation was added to the main "tower" casting, essentially isolating the movement block from the rest of the tower casting through a rubber insert. At one point so many changes had been made that the decision was made to rename the camera 16SR II. On the earliest of these cameras you can see how a "16 SR II badge" was added to the base after "16 SR" was machined out.

In 1982 ARRI introduced the 16SR II-E, ostensibly the "Economy" model since it was $3,400 less expensive than the standard 16SR II. The 16SR II-E is identical to the 16SR II, except that the APEC metering system is not incorporated and the couplings for automatic exposure with auto-iris lenses are not built in. Ironically, these same specifications were re-introduced in the 16SR 3 Advanced. SRII-E cameras have a different run switch which is always in "standby" mode. This switch was also commonly fitted to SRII's that were upgraded with the Cinematography Electronics 16SR speed control.

16SR II’s are rated by ARRI as having a 3 dB lower noise level than 16SR Is. However the tolerance for this average noise level is plus or minus 3 dB. This means that the quietest SR-I’ s have the same noise level as the average SR-II. The loudest SR-II’s have a noise level of the average SR-I’s. These are the tolerances for brand-new cameras from the factory and used cameras will have a much greater variation, depending on the type of use and frequency and quality of maintenance they received. It has been my experince that cameras that are not overhauled and lubricated at least once every five years will become quite noisy due to wear of the movement. Also, SRII's were much more popular as rental cameras, and used ones often have a great deal more wear. I've seen many SR II cameras that were much louder than an SR I.

Late model 16SRII cameras incorporated a few minor upgrades. In 1984, at the request of NASA who was using the 16SR on the Space Shuttle, ARRI added dual flashing red running lights (earlier cameras had a single running light that was hidden behind the on-board battery), a green LED to indicate proper battery voltage, and an infrared LED system to detect when the tail end of the film has run past the gate and shut off the motor. These upgrades were added to all 16SRII cameras after their introduction on the NASA cameras.

In 1989 Kodak introduced Reduced Tolerance Perforations in 16mm filmstocks. The size tolerance for the perfs was reduced to 0.01mm. This allowed ARRI to increase the size of the regstration pin to 1.26mm, which produced an increased registration accuracy of plus-minus 0.01mm (approximately 1/750th of the image height). This new registration pin was introduced in the very last 16 SR II’s produced and is standard on the SR-3. It can be retrofitted to earlier SR’s.

Some SRI and SRII models were manufactured as factory Super 16 compatible. These cameras had a different front casting with a bayonet mount that was shifted 1mm to align it for Super 16. The cameras had a 172.8º mirror shutter. These cameras could not be used to shoot on standard double-perf 16mm film, as the lens mount is permanently set to super 16 and would be far out of alignment for standard 16. This misalignment causes zoom shots to have a very noticeable lateral image shift, and prevents the use of standard-16 lenses that would otherwise be compatible because of vignetting.

The magazines on these factory Super 16 cameras were exactly the same as on a standard 16mm SR. This can cause scratching or pressure marks in the image area on the right side of the frame. It is reccomended that all 16SR magazines be upgraded to Super 16 compatibility. Although some would make the claim that the modifications are not neccessary, ARRI certainly felt changes were needed when it made the appropriate changes to the SR3 magazine.

A PL mount Super-16 conversion solves this problem of not being able to shoot both formats with the same camera, because the lens mount is eccentric, and can be switched between the two different formats. Now that double perf film is a special order only item, and regular 16 is a nearly obsolete format, having a bayonet mount permanetly set to Super 16 is not a disadvantage at all. It is possible to upgrade a standard 16SR to a Super 16 only Bayonet configuraton.

In 2003, CinemaTechnic introduced our low cost Super 16 conversion for the 16SR. In this conversion the Bayonet mount was re-centered to the Super 16 position. These cameras are Super 16 only, like the ARRI factory Super 16 cameras. We also introduced a Super 16 only PL mount in December 2003. With Super 16 now the standard, and double-perf film rarely seen, there is no longer an advantage to being able to shift the optical center. The only reason to shift back to standard 16 centering would be if you were shooting film to be printed on 16mm release print with an optical soundtrack.