Arri Arriflex 16S
By Jon Fauer - Arriflex Corporation (1996) - Paperback - 280 pages - ISBN 0936763027
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Arri Arriflex 16S
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Film Magazine (200 ft.) Magazine Cover Lock Latch for Magazine Lock Camera Cover Lock Diopter Adjustment Ring Eyepiece Retaining Ring Lock for Diopter Adjustment Power Cable Lock Override Button for Buckle Switch Camera ON Switch Camera OFF Switch Cover Lock Spring Magazine Opening Cover Tachometer Footage Counter Frame Counter Power Connector Viewfinder Cover Door Accessory Shoe Focusing Lever Contour Hand Grip Re-Set for Footage Counter Re-Set for Frame Counter Motor Lock Lever Variable Speed Motor Rheostat To Control Camera Speed Inching Knob Eyelet for Carrying Strap Knurled Dis, Camera Take-Up Locking Levers for Torque Motor Torque Motor Knurled Disc, Magazine Take-Up Film Supply Counter Forward/Reverse Switch for Torque Motor Knurled Disc, Magazine Supply Knurled Disc, Camera Supply Lens Turret Lens Retaining Lever Filter Stage, Rotating Filter Stage, Stationary Matte Slot Matte Box Matte Box Beam Lock Screw for Matte Box Lock Screw for Matte Box Stages Diaphragm Ring Turret-Rotating Grips Eyelet for Carrying Strap
The Arriflex 16S/B-GS
[With 60-Cycle Generator and Automatic Startmarker] The 16S /B-GS is a special model of the basic Arrilflex 16 S/B. It is factory equipped with a 60-cycle generator, an automatic startmarker and a manually operated cue marker, designed to work with all tape recorders equipped with the pilotone system.
The 60-Cycle Signal Generator
A miniature generator is built into the camera. When the camera runs at 24 fps, the generator ooutput is a 60-cycle signal of approximately 1.2 volts. This signal is the heart of all Piloton synchronizing systems. The output appears across pins 1 and 2 of the cameras 5-pin Tuchel outlet, after a 300 milli-second delay. Sync cables are used to carry this signal to the tape recorder. (See price list for various types).
The 16 S/B-GS has an automatic startmarker capable of putting startmarks on the film and on the tape, automatically, each time the camera is started.
The miniature lamp, which is visible just over the camera hand grip is paired with another lamp, located inside the camera. The inside lamp flashes whole frames of film, during camera run-up time. The result is that the beginning of each take, three or four frames of film are flashed. The start mark on the tape corresponds with the point just past the last flashed frame on the film. Light from the interior marking lamp in visible in the viewfinder, during run-up time. Note that the lamps are activated only when a properly wired cable is plugged into the 5-pin Tuchel outlet. To remove the start marking lamps for replacement, turn the plastic housing on its metal base counterclockwise. The pair of lamps are secured to the ends of the black rod (P1) which may be lifted out. These lamps are resistance matched pairs, and must always be replaced with a new, matched pair.
8 Volt DC Output
At the same time, during which the start mark lamps are energized, the camera will supply 8 volts DC through pin 3 on the Tuchel outlet. (See schematic). This voltage energizes a 1000 cycle oscillator built into the tape recorder. The 1000 cycle signal is recorded on the tape and serves as a start-mark in the sound track. The oscillator is cut off simultaneously with the marking lamps in the camera. Therefore, the point where the 100 cycle signal ends on the tape, corresponds with the point where the flashed frames end on the film and constitute the sync point.
Edge Marking System
The edge-marking lamp is mounted in the base of the camera under the coin slotted contact screw. The mating indicator lamp for edge marking is located on top of the small generator casting on the right side of the camera. These lamps are also a matched pair and should be replaced with matched pairs.
At the start of a take, the edge-marking lamps work simultaneously with the full frame marking lamps. However, these lamps mark the film at the edge only, and the edge marking is displace on the film by about 3 frames from the aperture in direction of travel. The edge-marking lamp can be energized manually during a take for event marks of various kinds.
Arriflex 16S Operating Instructions
Each Arriflex 16 S/B is SUPPLIED WITH: 1 Test film taken with camera 2 Plastic skewer for cleaning emulsion from film gate. 3 Bottle with special camera oil 4 Tube of special grease for lens cavities of camera and lens mounts. 5 Pressure Oiler 6 Guarantee Card 7 Instruction Manual The shipping container in which the camera is supplies should be saved and used in case the camera has to be sent for service. NOTE: Numbers in ( ) refer to callouts on front overleaf.
Holding the Camera
Place thumb of right hand between contour grip (21) and side of camera, while the other fingers reach forward around the bulge so they are free to actuate the follow-focus grips (38) and diaphragm ring of the lens in taking position. Place palm of left hand around finder housing on left side of camera, fingers over ON-OFF switch this way, camera can be held steady and comfortably. When the ON switch (10) is pressed down, it remains locked in the downposition until the release lever (11) is pushed in.
An accessory PISTOL GRIP WITH OR WITHOUT SHOULDER BRACE IS ALSO AVAILABLE. It is attached to the tripod socket in the base of the camea and has its own release trigger which activates a switch inside the tripod socket.
Place eye against finder eyecup. (Eyeglass wearers should remove or raise glasses to forehead and sight without them). For left eye viewing, the eyecup can be rotated. A periscope finder can be used for left eye viewing when a magazine is attached to the camera. If viewing is obstructed by the closed mirroe shutter, turn the inching knob (27) on the motor to open the viewing system. First focus your eye to the ground glass or fiber screen by turning the knurled diopter adjustment ring (5) at the eyepiece until the grain structure of the ground glass appears sharp. You best do this without a lens in the turret socket. The adjustment ring (5) should then be secured with the diopter lock ring (7). This setting need never be changed unless other persons use the camera. Once proper finder focusing is obtained, you can focus on a subject by actuating the focusing mount of the lens. For critical sharpness, always focus the lens with its diaphragm wide open. While the optical system of the finder is constructed so that it prevents light from entering and fogging the film, the eyepiece must be shielded from direct (horizontal) sunlight or powerful back light when the eye is removed from the eyepiece. For this purpose a light cover (18) is provided inside the rubber eyecup. During filming always press eye firmly against eyecup or close the cover door (18) on the eyepiece. The automatic eyepiece, available as an option, will close the reflex finder system anytime pressure against the eyecup is removed.
The detachable eyepiece, the same on all Arriflex cameras, permits the use of a variety of finder accessories like the PERISOPIC ACCESSORY FINDER, WHICH FACILITATES VIEWING FROM THE SIDE OR THE TOP (for instance if camera is on a microscope or copy stand), or viewing with the left eye when a 400 ft. MAGAZINE is attached to the camera. A finder extender can also be mounted when working in unusual situation.
To remove the eyepiece, turn the knurled chrome-plated collar (6) clockwise. To re-mount it, first engage the keyed flange properly then turn the collar (6) counterclockwise. Exercise care not to cross thread the collar and make sure the eyepiece is flush against the finder flange. The rubber eyecup swivels freely in its ball-stop bearing and can be pulled off for cleaning. The installation of a prescription corrective lens of 15.5mm diameter is possible in a specially provided recess in the eyecup assembly.
Ground Glasses/Fiber Screens
The standard ground glass, supplied with the camera, is marked to show: center cross, TV safe action and camera aperture. It can be interchanged for a special ground glass with center cross and projector aperture only, or for a clear glass with reference reticle for cinemicroscopy. (See price list for details.) Such installations must be done only by skilled, Arriflex trained technicians and require special tools.
All 16 S cameras equipped with APEC have the new fiber screen in place of a ground glass. The fiber screen has distinctly greater brilliance, which is especially noticeable in low light conditions or at small lens apertures. Fiber screens are available for later installation in any Arriflex 16S above serial number 8981. On Arriflex 16S cameras with Serial Number 6101 to 8980, exchangeability of the ground glass to fiber screen is possible by using a finder modernization kit (see price list for details).
The Three Lens Divergent Turret
The Arriflex 16 features a heavy-duty three-lens turret (37). The lenses are mounted in a divergent manner of 21o to prevent optical and mechanical interference between wide-angle and telephoto lenses.
A turret lock prevents the turret from being turned unintentionally. To lock the turret, be sure the taking lens is precisely located by the turret detent mechanism, then turn the lock lever clockwise as far as it will go. (See illustration 6). To open the turret lock, turn th elever counterclockwise. Three turret grips (47) make it easy to rotate the selected lens into taking position. Always turn the turret by means of the grips, never by the lenses. The back of each turret grip (47) is coded with either one, two or three dots. These dots can be seen from the rear, while filming and can therefore be used to indicate if the wide angle, normal or telephoto lens is in taking position.
Standard Lens Mounts
Two of the three lens cavities are for standard Arriflex lens mounts. These are ideal for fixed focal length lenses or average size. To seat lenses in standard Arri mounts: Press the pair of lens locking levers (38) together, align the keyway in the lens mount with the key in the socket and carefully place the lens in the socket. When the lents is seated, release the lock levers, and check that the lens is locked safely in place. Always keep lens mount and lens socket lubricated with a trace of the instrument grease supplied with your camera. To remove standard Arri mounted lenses: Press the lens locking levers (38) together, then lift the lens straight out. Always keep empty lens cavities covered with cavity caps.
Bayonet Lock Lens Mounts
One of the three lens sockets is for lenses in Bayonet Lock Mounts. This stronger mount, is primarily intended for zoom lenses or other larger, heavier lenses. To seat Bayonet Lock Lenses: Note the locking lugs at the rear of the lens mount -position the lens so the lens data engravings are on the top, and the lugs are in line with the keyways in the socket. (See illustration). Insert the lens as far as it will go and then twist the entire lens clockwise by 15. You will hear and feel the mount latch into place. The lens locking levers (38) operate automatically in this case and need not be depressed. To remove Bayonet Lock Lenses: Press the Locking Levers (38) together, rotate the lens counterclockwise. Then lift the lens out of the cavity. Always try to hold the lens on a fixed part of the barrel. Don't rotate the lens for mounting purposes by the focusing or iris rings. The Bayonet Lock mount provides seating and lens alignment of superior precision and durability. Use zoom lenses always in Arri Bayonet Lock Lens Mounts. Lenses for Arriflex are made by the world's leading optical manufacturers and represent the ultimate in optical and mechanical quality. Lenses available for the Arriflex 16 range in focal length from 5.7mm on up. Standard lenses are equipped with follow-focus grips (20) and most have diaphragm click-stops. Use only lenses in genuine Arriflex lens mounts to insure trouble-free operation and optimum image quality. For extremely long or heavy lenses, lens support systems of various types are available, the most practical of which is the standard ARRIFLEX bridge plate system.
Standard Matte Box and Filter Holder
To attach the matte box to the camera, slide the end of the boom into the special shoe (19) on the front of the camera housing. Lock it into position by turning the knurled (44) knob at the front of the boom. The rear stage of the matte box is adjustable to accommodate lenses of various lengths. The front is adjustable for optimum protection from side light and to prevent vignetting irrespective of lens focal length. SPECIAL EFFECT MATTES such as key holes, binoculars, etc. can be inserted into a slot in the front frame. Two filter stages accept rectangular 60x75mm and 60x100mm GLASS FILTERS, or ARRI FILTER HOLDERS with frame for 2" square gelatine or glass filters. One of the stages can be rotated for use with GRADUATED OR POLARIZING FILTERS. (For filter listing see separate filter price list). The rear opening of the matte box is threaded to accept a screw-in adapter ring for Series 8 mounted filters.
Universal Matte Box
The Universal Matte Box, especially designed for Zoom lenses also accommodates many standard and telephoto fixed focal length lenses. Features include adjustable front and rear standards, two filter stages, one of which may be rotated for polarizing filters. 3"x3", 75mmx100mm graduated filters, and 4"x4" filters can be used.
The 8 Volt VARIABLE SPEED MOTOR is generally standard equipment for 16S/B. All motors are interchangeable. By simply opening lock lever (24), the motor may be pulled out of the camera housing and replaced with any other motor such as -GOVERNOR CONTROLLED CONSTANT SPEED MOTOR, 110V 60 HZ SYNCHRONOUS MOTOR, ANIMATION MOTOR and UNIVERSAL CRYSTAL CONTROLLED MOTOR. When mounting a motor, care must be taken to line up the locating pin with the keyway in the camera and to insert the motor, all the way into the motor cavity to insure proper electrical contact.
Variable Speed Motors
By turning ribbed motor housing, a rheostat is actuated to regulate the speed of the motor. The figures around the motor shell are arbitrary, however, after some experience, they permit the operator to reset the camera quickly for any desired speed. (With, a full charged 8 Volt battery the rheostat will be set between 3 and 4 to give 24 fps. A knurled disc (see Illustration) marked "R"-"F" is located at the back of the variable speed motor. When turned all the way to "F" (click stop), the camera will run Forward; turned to "R" (clickstop), the camera will run in Reverse. When using a magazine, both, camera motor and magazine torque motor, must be set to run in the same direction, i.e. BOTH forward or BOTH reverse! The inching knob (27) in the center of the motor is used to turn the shutter and actuate the registration pin and film transport claw during the film loading operation.
Constant Speed Motor
The constant speed motor is used when only one single camera speed (24/25Fps) is required. In size and shape similar to the variable motor, the constant speed motor uses a centrifugal switch (governor) to keep the motor speed accurate within 1% under varying load and power conditions. The motor runs forward only and requires an 8V DC power source.
Power requirements for Arriflex 16 with variable speed or constant speed motor and with 400 ft. magazine are: 8 Volts DC (under load); 3.6 Amperes running; starting surge up to 6 Amperes depending on ambient temperature and condition of equipment. For the crystal controlled motor, 12VDC is required. Be sure the magazine torque motor is a 12V version when using the crystal motor with 400 ft. magazine. (See special instructions.) Arriflex-made batteries are available in a wide variety of sizes, power output and connections. You may use any suitable power supply which is capable of delivering the required voltage and amperes. Generally, batteries with less than 1.8 Ampere/hours at rated voltage are not practical. In an emergency, the Arriflex 16S may be operated from a 6 Volt auto battery. Maximum camera speed will be approximately 24 FPS with the variable speed motor. A 12 Volt auto battery may generate excessive torque unless the battery is tapped for 8 Volts. MAKE CERTAIN PROPER POLARITY IS MAINTAINED. To use any Arriflex DC motor on 110 Volt AC current, a power supply with transformer and rectifier is necessary. (See 16S price list).
Camera Tachometer & Film Counter
The Arriflex 16S/B is equipped with a tachometer (14), which registers filming speeds from 5 to 50 frames per second. It registers forward speeds only. The camera should never be run above the maximum speed indicated by the tachometer. Below the tachometer are the film footage counter (15) and frame counter (16). Both can be zeroed easily by their respective setting discs (22/23).
The Arriflex film gate is extra long (3 inches) and has a full-length rear pressure pad with a side pressure rail. Cross stages around the picture frame both on the front and back plates prevent "film breathing". Made of stainless steel, tapped to high precision and wear chrome-plated, the Arriflex film gate is probably one of the most trouble-free yet highest quality film gates of any camera. It is important to clean the gate regularly of film emulsion and film base deposits. Never use any metal tools on the gate surfaces! Use only the plastic skewer supplied with the camera and a clean untreated optical cloth.
With the film gate opened, the registration pin can be seen just above the transport claw. Its function is to locate the film precisely and to hold it in place during the moment of exposure. The registration pin ensures rock-steady pictures, a repetitively precise film line, and increased tolerance against film pitch changes. Never force the registration pin in any way while cleaning the gate, only activate it by turning the motor inching knob .
Film Transport Claw
The film transport claw engages the film from the front, the emulsion side. Watch its action by turning the inching knob (27) and note that it engages the film while the registration pin is lifting out of the perforation. This way, during the entire frame cycle, there is always one claw engaged for positive control of film.
Mirror Reflex Shutter
The mirror reflex shutter is the heart of the Arriflex reflex system. It rotates at a 45 angle between lens and film plane and reflects to the ground glass of the viewfinder exactly the same image as is registered on the film. All of the light rays reach the film through the lens without any interference while the shutter is open, and are alternately reflected to the ground glass only while the shutter is closed. Thus the film, as well as the eye, always gets 100% of the light transmitted by the taking lens. The effective shutter opening is 180 and gives the following exposure times at various speeds: 8 FPS 1/16 sec. 24 FPS 1/48 sec. 12 FPS 1/24 sec. 32 FPS 1/64 sec. 16 FPS 1/32 sec. 48 FPS 1/96 sec.
As this table indicates, the exposure can be calculated for the camera speed by doubling the FPS figure and reading the result as a fraction of a second (180 shutter only).
Two tripod threads, one 1/4" and one 3/8" size, are provided in the bottom of camera housing. This socket is made of tool steel and is a replaceable insert in the aluminum camera housing. Many standard tripod screws might be too long and trigger the built-in switch for the pistol grip. An excessively long tripod screw could even damage the switch housing inside the camera. The standard length for tripod screw is 7mm = 0.280 inches.
Camera Loading & Threading
Turn cover lock (14) from C to O and lift cover. Lay cover down and be sure switch is in OFF position otherwise switch activating pin could get bent. Place 100 ft. film spool on upper spindle. Pull off about 2 feet of film. Both spindles have an automatic lock to hold film spool in place in any camera position. To take film spool out, push button in center of spindle and tilt camera sideways. Open film gate by pressing latching knob inwards and swing the pressure pad assembly open on its hinges. Before threading film, open pressure roller assembly A by pressing button B. Thread film around sprocket drum C. Swing off pressure roller 01, if necessary. Then arrest film by swinging back pressure roller D-1. Lead film to gate E by forming an upper loop according to marking in the camera body above the film gate. Register pin F must be in disengaged (up) position. If it is not, turn motor inching knob (27) until pin is lifted over the film guide. Place film into gate in such a way that a perforation hole engages the protruding film transport claw. Hold film down with two fingers, one at either end of the gate and turn inching knob (27) until the registration pin engages film and holds it in place. Be sure film lays flush down against the aperture plate, then close gate. Thread film around sprocket drum G, forming a lower loop according to the marking in the camera body below the gate, and close pressure roller D2, At this point the roller assembly A should be securely closed. The sprockets are designed to accept either single or double perforated film. It is important to set film properly by moving it back and forth with two fingers over each sprocket until you can feel that the sprocket teeth have engaged the perforations. Push the leading end of the film into the take-up slot of an empty 100 ft. daylight spool and secure it by a few turns. Place the spool on the take-up spindle and be sure it "'snaps" into place securely. The knurled spindle discs (28,36) outside of the camera serve to take up film slack by turning them in direction of the engraved arrows. When the film is running, these discs turn and indicate whether film goes forward or backward. When film has run off, the supply spindle stops turning thus indicating the end of the film in the event the buckle switch is not functioning. Prior to switching camera "ON" or closing the cover, move a few inches of film through gate by manually turning inching knob  clockwise. With camera connected to power, push down internal switch (K) and watch about 2 feet of film roll through the camera. (Note: A "100 ft. roll" of film on a daylight loading spool actually measures 106 feet to permit enough leader and trailer.)
Then close camera and turn lock (4) to "C", Again, be sure that the door switch (10) is released, in the "OFF" position, otherwise the cover cannot be closed. Run off approximately 5 feet of light-struck leader before beginning filming. Set footage counter and frame counter to 0 by rotating the discs (22/23) next to the plexiglass windows.
Buckle Switch With Manual Override
The buckle switch (film end switch H) works properly only if the lower film loop is formed exactly according to the marking in camera body. When the end of the film has passed the film gate, the lower loop shortens, thereby pulling up the switch roller H, which in turn cuts off the camera motor. The camera can only be switched on again after the pressure roller assembly A has been opened and closed as described in the previous paragraph. The buckle switch also stays "OFF" in the event that the pressure roller assembly A is not closed properly, i.e., the camera will not start. Any shortening of the lower loop during the running of the camera actuates the buckle switch to prevent film jamming. Never actuate or force the switch roller H by hand! The buckle switch override button (9) underneath the finder tube permits the cameraman to circumvent the buckle switch circuit. On certain adverse and rare occasions, particularly due to heavy-duty shock or vibration, the micro switch of the buckle switch might trip and switch the camera off. With the override mechanism the cameraman can quickly restart the camera without opening the camera cover.
However, when in doubt whether the buckle switch was unintentionally triggered by impacts or vibration, or whether it was actuated due to a film jam, it is recommended to open the camera, to check the film path and sacrifice a few inches of film rather than risk damage by just using the external override control. To do this, it is recommended that the cameraman push the override button and run the Camera just long enough to keep the end of the last exposed scene from becoming light struck when the camera door is opened. Then, stop the camera, open the camera door, check for and correct any malfunction, reset the buckle trip mechanism, reset the buckle override, (see following instructions), close the camera door, run-off light struck footage and continue. Finally, once the override (9) has been used, it will have to be reset so the buckle switch can be reactivated. To reset the override, the toggle lever U of the buckle switch override mechanism must be turned counterclockwise approximately 45 from its off position. This shuts off the override function.
The top of the camera housing accepts the 400 ft. film magazine. A light-tight cover (13) protects the magazine slot. Before the magazine can be attached, remove the cover by pulling firmly on this latch (12). The camera housing is internally wired to supply power to the take-up motor. The contact is visible once the cover is pulled off. This power contact is silver-plated and must be kept clean at all times to insure lowest resistance. Arriflex 16S magazines are designed for 400 ft. and 200 ft. 16mm single or double perforated film on plastic core (darkroom loads) B-wound. By removing the core adapters, the 400 ft. magazine will also accept 200 ft. daylight loads on spools.
The following procedure must be done in total darkness when using core load film. To open magazine cover, depress the safety latch (leaf spring) and turn lock (2) counterclockwise to its stop. Swing supply guide arm up until it is arrested near top casting of magazine. With leading end of film unwinding clockwise, place roll on left spindle by pushing plastic film core onto core adapter. Do not "dish" the film by pushing down on the outer diameter of the roll! Unlatch supply guide arm and be sure the flanges of the roller slip over the film edges and guide it properly.
Now slip the leading end of the film through the left hand slot between the light trap rollers until it exists on the outside of the magazine throat. Then reverse this procedure and push the film back into the compartment by feeding it through the take-up slot which is on the other side of the throat from where the film exited.
Once back in the compartment, arrest the take-up guide arm in it's latch near the top of the magazine casting. Attach the film to the collapsible core by slipping it into the gap and locking it with the chromed expansion clip. During unloading, when using a collapsible center core, the film can easily unspool from the center unless it is deliberately held. It is recommended that a plastic core be inserted before repacking the film for the lab. By twisting the plastic core a few turns in the direction of the film wind it will "grab" the trailing end of the film and hold securely.
Collapsible Core Standard Core Core Adapter
Each one of the core adapters is easily interchangeable by depressing the buttons at the ends of the film spindles. A standard core adapter can be substituted for the collapsible one on the take-up side. In this case, a regular plastic film core would have to be used on the take-up side as well. Once the film loading procedure is completed, close the magazine by engaging the two location prongs on the bottom of the cover in the corresponding grooves of the magazine casting. Then lay the cover flush against the magazine and turn the lock clockwise until the safety latch "clicks" into position.
Important Points To Check
Attach the film on the supply and take-up cores so it will run freely without "wobble" inside the guide arm rollers. Be sure to release both guide arms before closing the magazine cover. The supply guide arm activates the film supply counter on the outside of the magazine! If not released, the counter will not indicate.
Wind sufficient film onto the take-up core to be certain It won't slip, that it will wind even and in line with the guide roller. Always be sure to remove the core adapter from the exposed roll before repacking film for the lab. Many adapters have been lost this way. Practice the Ioading with outdated film, in the light, a few times and these procedures will quickly become routine. The Arriflex 16S has the sprocket drive in the camera compartment. To load the camera with a pre-Ioaded magazine, proceed as follows: Pull enough film out of the throat of the magazine so you can guide it through the magazine opening on the camera casting. Then engage the dovetail wedge on the rear of the magazine in the corresponding wedge on the camera, lift the magazine lock (3) which contracts the locking wedges and lower the front wedge into the camera casting. With the magazine loosely seated in the camera casting, pull the latch (3) of the magazine lock down and the resulting expansion of the wedges will secure the magazine to the camera. To prevent an accidental releasing of the lock, always hook the safety catch into the lock latch. With the magazine safely mounted on the camera, proceed with the film loading in the same manner as described previously for 100 ft. camera loads.
The magazine take-up motor, torque motor, attaches to the body of the magazine by means of two lock levers (30) and becomes an integral part of it. To attach the torque motor to the magazine, both levers (30) are turned upward, the motor is pressed against the corresponding area of the magazine and then both levers (30) are turned in direction of the arrows until they are reasonably tight. In the center of the torque motor casting is the lever (34) which controls the forward/reverse running of the magazine. It is important that the setting of this lever corresponds with the directional setting of the camera drive motor.
Prior to filming with a freshly loaded magazine always turn the two knurled knobs (32,35) on the torque motor in the directions indicated by the arrows to remove excessive film slack in the magazine. All later model torque motors are equipped with a grounding plug for a small wire, which leads directly from the negative pole of the battery cable to the torque motor. The most probable cause of torque motor failure is the lack of sufficiently good ground contact and the use of this wire is recommended at all times. Older torque motors can be retrofitted with this feature.
Servicing and Maintenance
The Arriflex 16S is built with utmost precision and is famous for its ruggedness. It will give absolute satisfaction if treated as any precision instrument should be treated, and if serviced at regular intervals, consistent with the amount of use, and the following recommendations. The most important rule is: KEEP THE CAMERA SPOTLESSLY CLEAN INSIDE AND OUT! Particular attention must be given to the film gate. It is precision-lapped and chrome-plated to minimize film emulsion to settle. However, some emulsion deposit is inevitable and will vary with the type of film used, the relative humidity and other factors. The film gate should be checked and cleaned every 400 ft. roll and it should be carefully inspected and thoroughly cleaned at the end of each day's filming. Remove emulsion deposit with the plastic skewer supplied with the camera (NEVER METAL). If emulsion is hardened on film gate, remove it with a Q-tip dipped in acetone or alcohol. Be careful not to get any solvent on any optical surface. Acetone will also dissolve paint. After cleaning, polish gently with chamois or other soft, clean optical cloth. From time to time, the lens mounts and the three lens sockets in the turret should be cleaned to remove dirt and dust. After such cleaning, re-lubricate lightly with the special grease supplied with the camera. The standard lubricants used with the Arriflex are suitable for use in temperatures down to -20C, provided the camera is in good working condition, and the lubricants in the camera mechanism itself are clean and uncontaminated by dirt. On special request and for extra charge, Arriflex cameras can be winterized at our Service Department to function at still lower temperatures. For details, consult section on "low temperature operation."
Your camera has been properly lubricated at the factory and is ready for operation. Do not oil before using unless camera had been stored and not been used for more than 12 months. After each run of 30,000- 50,000 feet of film through the camera, camera should be lightly oiled at two oil valves marked with arrows (one near the film gate, and one near the supply spindle). Only use the ball and pressure oiler supplied with your camera and the special oil contained therein. Do not overoil -too much oiling is as bad as too little!
By observing the following "DON'Ts you will protect the continued safe and reliable operation of your Arriflex: DON'T run camera without film at high speeds. DON'T attempt to disassemble any part of the camera. This should be done by factory-trained personnel only. DON'T touch mirror shutter with fingers. Clean it only with soft camel hair brush. In any case, a spot on the mirror does not affect the picture. DON'T exchange covers of different camera (serial numbers are engraved on each coyer and camera). DON'T use old or shrunk film; the registration pin's stroke is adjusted to the perforation pitch of fresh film (0.2994) according to ASA specifications. DON'T allow cameras to be serviced by unqualified service shops. Arriflex cameras require special knowledge and experience. DON'T neglect to have your camera serviced after approximately every 200,000 ft., or every two years, whichever comes first. Service should be more frequent under adverse conditions. Our Service Department welcomes your inquiries and is anxious to help you with any problem or unforeseen requirements you might have.
Constructions and Design The ARRIFLEX 16 BL is a noiseless 16 mm mirror reflex newsreel camera with electric drive. In order to maintain the excellent technical features of the proven ARRIFLEX models 16 St and 16 M (such as the precision film registration pin, forward and reverse operation, tachnometer, footage indicator interchangeable motors, mirror reflex system, etc.), achieve a low noise level and avoid excess weight, this new camera has been built with a fully sound-proofed construction in which all, components which produce or conduct noise have been insulated within or upon the camera body. This applies to the camera mechanism complete with the film transport system, the interchangeable motors, the lens, the viewfinder system, and the magazines. This construction makes the ARRIFLEX 16 BL an extremely versatile, noiseless, and relatively lightweight newsreel camera which con be used equally well whether mounted upon a tripod or hand-held with or without a shoulder support. Taking today' s advanced zoom lenses into consideration, the ARRIFLEX 16 BL has been constructed with only one lens mount especially designed for the use of zoom tenses although normal lenses may also be used. The tenses can be exchanged quite easily. The ARRIPLEX 16 BL works with quick-changing magazines with built-in feed and take-up mechanisms. The Film transport is the some as in the ARRIFLEX 16 St and 16 M, having a precision registration pin for forward and reverse operation. The viewfinder system is different in some respects from other ARRIFLEX 16 models, the most important difference being mg the relocation of the ground glass in the forward focal plane. The ARRIFLEX 16 BL is operated in the same manner as the ARRIFLEX 16 M, with the exception of the following changes: The operating controls normally firmly coupled with the camera mechanism ore insulated in the ARRIFLEX 16 BL to prevent noise from being conducted from the camera interior. This applies to the lens controls for focus (I/4), focal length (I/10 0, 11), diaphragm (II/10), inching knob (III/1), re-set for the footage indicator (Ill/4), and the two knurled disks (II/14) for taking up film slack In the magazine. The three lens controls are connected to the lenses by means of rubber elements. The latter four control knobs mentioned above are completely disengaged and must be pressed in to couple them with the gears of the camera mechanism, Important! Never use the inching knob (111/1) while the camera motor is running!
1. The interchangeable sound-proofed lenses of the ARRIFLEX 16 BL The lenses for the ARRIFLEX 16 BL are contained in a separate insulated housing and can be exchanged quickly. The lens and outer housing form a single unit, even though each connects separately with the camera. The lens is locked inside the camera whereas the housing is locked on the front of the camera. In Figs. I and II the operating controls of the lens are shown: focusing adjustment I/4 focal length (zoom) adjustment I/ 10 a. I/II diaphragm adjustment II/10
The plexiglass window on the housing (I/3) enables reading of the original lensscales. For focusing, focal length, and diaphragm, additional scales are located on the adjustment rings of the housing and can be read off at the index marks on the side by the camera assistant. The adjustment rings have handy grips for easy operation. For comfortable adjustment of the zoom range a detachable lever (I/10) has been added. This lever is screwed into a separate ring which fits loosely over the focal length adjustment ring and can be brought into any desired position. When the zoom lever has been screwed in, the counter sleeve is left loose and the outer ring and zoom adjustment ring are brought into the desired position. The counter sleeve of the zoom lever is then screwed tight, whereby one makes certain that the rings are firmly locked together. The lens outer housing is equipped with a hinge (II/8) so that the frontpart becomes a door (V/3) for the filter holder (V/9). A knurled tension lock, which catches automatically and can be tightened, presses the filter holder against an elastic sound insulation support. To change the filter or plane glass (V/10), the lock is turned counterclockwise and the hinged front (V/3) is opened so that the interchangeable filter holder (V/9) can be taken out. The filter holder contains the filter or plane glass mounted upon an elastic support and retained by four leaf springs. To change filters, the upper and lower parts of the filter holder (V/9) are turned against eachother until the two square cut-outs match, the filter is taken out, a new arm put in, and the process is reversed. Important! : If square filters of up to 5 mm thickness are used, the knurled upper part is to be turned against the lower part in a clockwise direction. If filters thicker than 5mm are used, the upper part is turned in a counter-clockwise direction to avoid damaging the leaf springs. When no filter is mounted, the plane glass of the same size must be used. The filter and the plane glass however, can never be used together. The adjustable matte box with bellows (II/7) is mounted upon the hinged front (V/3) by seating it at the lugs (V/1) and locking it with the snap catch (V/2.) The matte box swings with the hinged front (V/3) when it is opened. A zoom lens consists of a stationary main lens and an adjustable system of auxiliary lenses. The latter system is usually of considerable length so that the front lens, because of this, enters into the focusing range of the main lens. This is especially the case with short focal length settings and small apertures. For this reason, the front lenses must always be kept especially clean, as foreign particles could easily show up in the picture. The same applies to the plane glass and filter.
A. Removal of the sound-proofed lens The lock of the outer housing is opened by turning the locking grip (I/5) counterclockwise from the position FEST to the position LOSE. Then the push button (I/12 a. V/16) is pressed in with the index finger of the right hand and the sound-proofed lens turned counter- clockwise with the left hood until it disengages and can be slid out. B. Mounting the sound-proofed lens The mark LOSE on the lock of the outer housing (I/5) is matched with the red dot. The sound-proofed lens is taken in the left hand, plexiglass window up (I/3), and slid with the lens mount and its bayonet catch into the grooves of the lens socket (V/14) and turned clockwise until it engages, this being indicated by a slight click. The push button (I/12 a. V/16) need not be depressed while mounting the lens. Once the lens is locked, the outer housing (V/6) is locked by turning the ring clockwise from LOOSE to FIX.
2. Universal Lens Blimp for ARRIFLEX 16 BL
Fig. I In conjunction with the Universal Lens Blimp, the following lenses or fixed focal length from the ARRI Lens Programme can be used for sound insulated shooting: Schneider Cinegon Cine-Xenon Cine-Xenon Cine-Xenon Cine-Xenon Cine-Xenon Zeiss Distagon Distagon Planar Planar Planar Sonnar CookeSpeed Panchro Speed Panchro Speed Panchro Speed Panchro Speed Panchro F / 1.8 / 10 mm (as from 1967) F / 2 / 28mm F / 2 / 35mm F / 2 / 40mm F / 2 / 50mm F / 2 / 75mm F / 2 / 8mm F / 2 / 16mm F / 2 / 24mm F/ 2 / 32mm F / 2 / 50mm F/ 2 / 85mm T/ 2.2 / 25mm T/ 2.3 / 32mm T/ 2.3 / 40mm T/ 2.3 / 50mm T/ 2.3 / 75mm
For various reasons all other lenses in the ARRI Lens Programme cannot be used with the lens blimp, or only with limitations.
1. The following lenses: Schneider Cinegon Cinegon-Xenon Zeiss Sonnar CookeSpeed Panchro Speed Panchro Kilfitt Makro Kilar Makro - Kilar F / 1.8 / 18mm F / 2 / 100mm F / 4 / 135 mm T / 2.2/ 18mm T / 2.8/ 100mm F / 2.8 / 40mm F / 2.8 / 90mm
fit the lens mounting of the ARRIFLEX 16 BL, but will not fit into the Universal Lens blimp, because in some cases their diameter and in others their overall length is too big. These lenses should therefore be used only when sound- insulation requirements are not critical, Moreover, lenses with a focal length in excess of 100 mm need a lens support (in preparation.) 2. The fixed focal length lenses not listed above have too short a back focal distance (distance from rear element to mirror reflex position.) This point will be taken into account in future lens designs so that all new models included in the ARRI Lens Programme will also be adapted to the ARRIFLEX 16 BL. The Universal Lens Blimp is dimensioned so that, in principle, standard 75 x 75 mm ARRI filters and 3 x 3 Wrattenfilters can be used. These standard filters are large enough for the shortest focal length used. In view of the short focal lengths, however, filter size is governed by the overall length of the Universal Lens Blimp and hence by the maximum length of the lenses used. The filter holders for the two zoom lenses, Angenieux Multifocus 10 x 12 and Zeiss Vario Sonnar 6 x 12.5, are the same as those for the Universal Lens Blimp and can therefore be used interchangeably. We recommend the use of a separate holder for each filter. This makes it considerably easier to keep the filter glasses clean. The matte box for the Universal Lens Blimp can also be used for the above mentioned blimped zoom lenses. As from mid- 1967, we will be supplying the some matte box for these lenses as for the Universal Lens Blimp. The difference from their predecessors is a mirror holder hinge on the front frame. On request, we supply for the Universal Lens Blimp a rectangular mirror which permits indirect reading of the focusing aperture scales from a longer distance. The length of the matte box booms is adopted to the blimped lenses. For Universal Lens Blimp only the short boom should be used. There are no engraved bellows extension markings, as the focal lengths of the usable lenses vary. We deliver lenses ordered from the Universal Lens Blimp ready for installation, i.e. with adjusted coupling elements calibrated focusing aperture scales, as is the usual practice for big studio blimps.
If already available lenses (see list on page 24) are to be used in the Universal Lens Blimp, coupling modifications and calibration of the focusing aperture scale are necessary. This can be done either by ARNOLD & RICHTER or in an authorized service workshop. Precise installation and adjustment instructions are available on request.
1. Universal Lens Blimp, Fig, 2, with the three clamping lugs (Fig. 2/1) in the three grooves on the camera (as for zoom lenses)l then turn to right until the lens blimp engages the latch (Fig. 2/2) The matte box is mounted exactly as on zoom lenses.
11. Turn the locking ring (Fig. 1/3) to give a firm seating, loosen the. closure of the front door (Fig. 3/4), open the hinged door and remove the filter holder (Fig, 3/5). Set focusing lever at infinity and swing out diaphragm driver (Fig. 4/7).
Turn tens focusing ring(Fig. 5/8) to Infinity mark, so that the middle of the retaining pin slot (Fig. 5/9) is opposite the stop. IV. Open the catches for locking the lens by depressing the push button (Fig. 6/10), and insert the lens in, the bore with the retaining pin slot (Fig. 5/9) uppermost. The focusing driver (Fig. 6/11) of the lens blimp engages the left leaf (in Fig, 6) of the focusing lever on the lens. The bracket makes coupling with the wrong leaf (on the right in Fig. 6/11) of the focusing lever impossible. Swing diaphragm driver back into place and couple with the diaphragm ring (Fig. 6/12)
V. Insert the filter holder (Fig. 3/5) and close the front door (as for zoom lenses) VI The focusing aperture scale (Fig.7/13) is attached by slipping it over the pin (Fig. 7/14) and then pivoting the scale into the slot of the guide elements until it engages the catch pin (Fig. 7/16.) To remove or replace the scale, the catch pin (Fig.7/16) is pulled out.
Fig. 7 VII. The interchangeable mirror (Fig, 7/17) permits indirect reading of the focusing aperture scale (Fig. 7/13) from a greater distance. VII. To remove the lens, reverse the above procedure.
3. The mirror reflex viewfinder system In contrast to the previous models of the ARRIFLEX 16 BL has its ground glass (IV/6) at the front as does the ARRIFLEX 35. The ground glass area surrounding the format markings is somewhat darker than the format itself. In this manner objects located outside of the picture being filmed can also be seen. The ground glass holder is fastened with two screws (IV/7) parallel to the ground glass plane. Two precision adjusted bolts guarantee that the film and ground glass images are equal and free of parallax. This enables the ground glass holder with the ground glass to be easily exchanged for others with different formats without losing the adjustment. The viewfinder assembly is built into the camera door and the image is observed through the eyepiece. A short periscopic viewer attachment is located between the ground glass and the eyepiece. This attachment, can be turned and swiveled and locks in the operating position. By turning the lock (I/18) in a counterclockwise direction, the short periscopic viewfinder together with the eyepiece can be removed and exchanged for the angular viewfinder (Cat. No.1633.) With this angular viewfinder attachment the eyepiece is further forward, thus granting a more favourable weight distribution for hand-held shots, as the camera may be supported against the shoulder. The viewfinder eyepiece itself is detachable as on other ARRIFLEX 16 cameras (I/14) with the only difference from previous standard eyepieces being that it is equipped with an automatic light sealing device. This is necessary because of the viewfinder construction of the ARRIFLEX 16 BL. The light closure mechanism opens automatically when the eye is pressed against the eyecup. The adjustable rubber eyecup (I/17) is detachable and can be removed by simply pulling it to the rear. When the eyecup is removed, a knurled ring becomes visible which, when turned in a clockwise direction, locks the automatic light closure mechanism at an open position. This arrangement Is especially practical for hand-held shots (from a moving automobile, etc.) during which it is difficult to hold the camera steady. The light closure mechanism can be returned to automatic functioning by turning the knurled ring back in a counter-clockwise direction. The detachable rubber eyecup offers the additional advantage that each cameraman - especially if he wears glasses - can use his own eyecup. At the rear of the eyecup a centered recess is provided for the mounting of a prescription lens by an optician. As the rubber eyecup is made to fit the eye anatomically, lenses for correcting astigmatism can be mounted in the correct position. The viewfinder eyepiece is focused with the knurled focusing ring (I/16). The focus is held with the knurled locking ring (I/16) which has the setting FEST (tight) and LOSE (loose) engraved upon it (see also the leaflet TI E "Interchangeable Viewfinder Eyepiece for ARRIFLEX Motion Picture Cameras").
4. The Periscope Finder for the ARPIFLEX 16 BL and its advantages over the standard viewfinder
To give the self-blimped ARRIFLEX 16 BL even greater versatility, especially for news work, tripodless operation has, been made possible by equipment that holds the camera firmly on the cameramans shoulder. This has been achieved by favourable displacement of the centre of gravity and also of the viewfinder eyepiece. The right hand on the hand grip operates the release, and the left hand sets the focus, focal length and iris diaphragm. This ensures a steady camera for long, hand-held shooting. In addition, as from serial No. 50701 the viewfinder mounting of the ARRIFLEX 16 BL has been modified so that in a few seconds the standard viewfinder can be removed and replaced by a newly developed periscope finder that enables the ARRIFLEX 16 BL to be operated from the shoulder. The new viewfinder mounting is constructed as a quick-change mounting integral with the camera door lock. The viewfinder in use is held firmly in this quick-change mounting by three movable, centrally arranged nylon clamp jaws and is prevented from turning by a spring-loaded locking pin. To change the viewfinder, the black knurled ring (Fig. 2/1) is turned anti-clockwise as far as it will go. The finder can then be removed with a slight
twisting motion, and another finder inserted by reversing this procedure. Core must be taken to ensure that the knurled ring is really turned right to the stop so that the nylon clamping jaws and the locking pin are completely retracted to prevent damage when changing finders. When inserting the finder, it must be pushed In as for as it will go and the knurled ring firmly tightened in a clockwise direction. The finder is then turned to the operating position, where it will automatically snap into locked position; the knurled ring should then be retightened. One and the same eyepiece, which is removed in the usual way, can be used for both finders. This possibility of fitting both finders with one eyepiece simplifies interchanging. The most comfortable viewing position for the cameraman can be found by swiveling the eyepiece. The glass element built into the camera door Is part of the finder system, For occasional cleaning this element and Its mount can be screwed out of the inside of the camera door, Replace carefully after cleaning. In the course of redesigning the quick-change finder mounting, which, as already ready mentioned forms an integral unit with the camera door lock, the door lock was also improved, In place of the former knurled locking ring, a knurled locking lug now makes opening the camera -door easier. In conclusion, we must emphasize that, neither the periscope finder attachment nor the standard viewfinder should be used as a hold for carrying the camera.
5. The 400 ft. (120 m) BL magazine ImportantI The magazines for the ARRIFLEX 16 BL and those for the ARRIFLEX 16 M are never to be used interchangeably as besides raising the noise level this is will damage the gears. This quick-changing magazine with built-in feed and take-up mechanism holds 400 ft. (120 m) of film. If black-and-white film is used, film rolls with a total length of 500 ft. (150 m) can be used. In addition, this magazine is equipped to take 100 ft, (30 m) and 200 ft (60 m) daylight-loading reels. Also available for the ARRIFLEX 16 BL is a 1200 ft. (360 m) double-compartment magazine (Cat. No. 1629), which is unblimped and should therefore be used in cases where long takes are expected and low noise level operation is not called for. The feed and take-up reels of this magazine are arranged side-by-side to make it relatively light and compact. Magazine drive The magazine is driven by the camera mechanism. It runs entirely on ball bearings. In order to reduce noise, metal gears have been matched with plastic ones. Magazine Throat The feed and take-up sprockets in the throat of the magazine guarantee that the film Ioop in the interior of the camera remains at a constant length whether the camera is in forward or reverse drive. The magazine throat has a labyrinth-type film channel which acts as a light trap to keep out stray light. In this way, the use of velvet for the same purpose was avoided. The magazine throat cover can be removed for cleaning. The dovetail in the magazine housing serves to attach the magazine to the camera. Film supply indicator Located on the rear side of the magazine, the film supply indicator refers to black and-white film. lf colour film is used, the film supply can be estimated by subtracting 10% from the footage shown. The indicator is available with scales in metres or feet; these are interchangeable. The film must be wound with the emulsion side in on type T plastic cores. For 16mm film perforated on one side only, use only type B winding. All international standard film cores with an inner diameter of 1" with slot or lug, and an external diameter of 2" may be used, The maximum capacity of 400 ft. (120 m) given by the manufacturer should never be exceeded, except for the above-mentioned case where 500 ft. (150 m) of black-and-white film is used in the 400 ft, (120 m) magazine. It is advisable to practice the operation of the magazines in daylight with blank film. Later handling in the darkroom or changing bag will then prove easier,
A. Opening the magazines First unlock the magazine lid by simultaneously pressing the arc-shaped safety spring and turning the lock from position Z to position A (C - 0). The hinged Iid of the 400 ft. (120 m) BL magazine can then be opened. B. Loading the magazines Place the opened magazine and roll of film upon a level surface. Using scissors, cut at right angles through the centre of a perforation. The film is best inserted into the feed mechanism before the film roll is placed in the magazine. The film leader is inserted into the feed mechanism from the inside with care being taken to see that it engages parallel to the rear wall of the magazine and not at an angle. Gently turning the driving gear facilitates the travel of the film until it comes out of the left-hand film channel of the magazine throat. The film roll is then slid onto the left-hand spindle. If cores with a slot are used, the drive lug of the core holder will engage automatically. If cores with a lug are used, make certain that the core is slid on with the lug in the slot of the film core holder. The film must be tightly wound and perfectly parallel to the core. The left-hand guide roller is laid against the film over-lapping both film edges. Before forming a loop, the leader is pulled out of the left-hand channel of the magazine throat and, laid smoothly round the left outer edge of the magazine housing until the end of the film matches with the marking at the left-hand cover hinge. Excess film should be taken up again. After the exact length of the film, loop (43 perforations) has been obtained in the aforementioned manner, the film leader is inserted from the outside into the right hand channel of the magazine mouth to the take-up core. The sprocket in the channel is turned gently so that the inserted film is engaged, whereby one makes certain that the film loop remains the same size. If the loop is formed correctly, 40 to 41 perforations must remain visible. The film leader is fastened to the collapsible take-up core with the clamping lever. The leader must be inserted into the slot of the core so that it lies straight. The right-hand tension roller is then laid against the film so that its profile fits over the film. C. Daylight loading reels If daylight loading reels are used, the film core holder and the collapsible film core must be removed by depressing the spring-mounted pins projecting from the centers of the spindles. The film tension rollers must be locked by pressing them together until they catch and then brought to the centre of the arc-shaped guide so that the daylight loading reels may turn freely. If the tension rollers are needed again for a normal core mounted film roll, they can be released by pressing them apart. The magazine and the daylight-loading reel ore placed upon a level surface. The leader is cut property and inserted into the feed mechanism until it comes out of the left-hand film channel of the magazine throat. The daylight - loading reel is then placed upon the left hand spindle, turned gently until the square profile of the spindle matches with that of the reel and then shoved home. The film leader is measured to form a loop as previously described in section 6, then inserted into the right-
hand film channel of the magazine throat from the outside. The leader is then threaded into the empty daylight.-loading reel and secured with a few turns before sliding the reel into the right-hand take-up spindle in the magazine. As the film supply Indicator does not function during the use of daylight-loading reels, the film consumption must be read off the footage Indicator on the camera.
D. Closing the magazines The lid of the 400 ft. (120m) BL magazine is shut and locked by turning the lock until the arc-shaped safety spring catches and makes the magazine light-proof. E. Taking up film slack in the magazines If the camera has been transported with a mounted magazine, or a new magazine is to be mounted, film in the magazine should be tightened before filming. The two knurled disks at the rear of the magazine (II/14) are pressed in and turned in the direction of the arrows until resistance of the film shows that the slack has been taken up, thus guaranteeing smooth operation of the camera. F. Removing exposed film from the magazines The clamping lever in the collapsible take-up core is released, freeing the film end and causing the diameter of the core to reduce considerably so that the film roll can be easily taken out. A normal plastic core is then placed into the film roll. G. Attaching the film loop protector To avoid possible damage to the film loop while the magazine is not mounted upon the camera, we recommend the use of the loop protector which can be quickly attached and detached at the throat of the magazine. To attach the loop protector the film is pressed gently against the magazine throat and the protector is slid over the film into the gap between the magazine throat and the retaining plate. H. Mounting the magazines upon the camera The magazine is placed with the rear end of its dovetail base (V/7) into the rear dovetail recess of the camera. To ensure correct meshing of the gears, gently rotate the camera gears with the inching knob (III/1) before carefully lowering the magazine at the front. Important! The inching knob must never be used while the camera motor is switched on! The knurled knob (II/1) of the open magazine lock its pressed home and turned clockwise to lock the magazine firmly. I. Removing the magazines The knurled knob (11/1) is turned counter-clock-wise to the stop and drawn back, The magazine can then (provided that the film the camera has been removed from the film gate) be lifted easily by tilting it backwards.
6. Camera Drive and Power Supply The interchangeable motor has a general speed of 3000 rpm, no matter whether the governor controlled motor or a 50 cycle synchronous motor is used, i.e. whether the camera is operated at 25 of 24 fps. The frame speed difference between 25 and 24 fps is attained without an exchange of motors, by means of exchanging a pair of gears. When exchanging motors, the choice is between governor controlled or synchronous electric drive only. For 50 cycle pilot frequency with motors with 3000 rpm, the Pilotone generator is connected directly to the motor shaft, so that the pilot frequency stays at a constant 50 cycles, whether the camera is operated at 25 of 24 fps. For countries with a standard frequency of 60 cycles, where a pilot frequency of 60 cycles and 24 fps are generally used, synchronous motors including 60 cycle Pilotone generator with 3600 rpm, as weII as corresponding sets of gears are available for the camera because the motor speed is dependent on the current frequency, In countries with standard frequency of 60 cycles, the pilot voltage with a frequency of 60 cycles is taken from the tachogenerator, with 60 cycle synchronous motors with 3600rpm, as well as with DC motors with 3000 rpm. When working with DC motors with 3000 rpm, one must be sure that the pair of gears for 24 fps is used. The transistorized, governor-controlled DC motor is designed for a standard rated voltage of 12 volts. The ARRIFLEX 16 BL is usually driven from this motor, which is fed from a 12 V battery. A control light (the middle one under the plexiglass cover (III/2) at the rear of the camera) serves as both a blink signal light for camera run and as a pilot voltage control. As with all other ARRIFLEX camera types with governor controlled DC motor, the correct polarity of the supply voltage is important. The plugs on both ends of the connecting cable (V/20 and V/21) are so designed that they cannot be mistaken; therefore the cameraman need not pay attention to the polarity with the ARRIFLEX 16 BL, provided that the original ARRI connecting cable and the proper battery are used, and that the installation has not been interfered with. A. Starting the camera The camera can be switched on at three different points, When using the tripod or for hand-held shots without the pistol grip screwed into the tripod socket the front switch at the handgrip on the side of the camera is used. Upon being pressed this switch locks itself automatically for continuous filming. By pressing the switch again and releasing it, the camera is turned off. During newsreel shots with the shoulder support and handgrip or with the pistol grip alone, the camera is turned on by using the switch on the pistol grip in the same way as with other ARRIFLEX 16 cameras (the switch operates through the tripod socket.) The ARRIFLEX 16 BL has two tripod sockets. The front one is best used for the pistol grip and shoulder support, whereas the socket at the
middle of the camera bottom is usually used for tripod shots although the pistol grip could also be screwed in and used to operate the camera from this socket. In addition, the camera can be switched on and off from the pan handle by the remote release. The necessary connection is situated underneath the camera handle. B. The changing of the film speed between 24 and 25 fps. is accomplished by exchanging the transfer gear (IV/1) and the motor pinion (IV/2) for others with a different number of teeth. To avoid error the transfer gears and motor pins have been engraved as follows: 25 fps; 24 Fps; 24 Fps 60 ~ Sy (or 60 cycle synchronous motors with 3600 rpm.) The plexiglass cover of the protruding gears is removed. The motor pinion (IV/2) which is centered upon the motor shaft is unscrewed (while the transfer gear is held fast to keep the motor shaft from turning) and then lifted off. Then the transfer gear is unscrewed (again, it must be held fast to keep the camera drive from being turned) and lifted off. The mounting and tightening of a new pair of gear wheels is accomplished in reverse order. As the drive motors for the ARRIFLEX 16 BL are rather strong, in case of jamming of the film transport the camera has built-in overload protection in the form of a torque limiter located between the camera drive and the transfer wheel driven by the motor pinion. C. To exchange the drive motor with another the following must be observed: the plexiglass guard for the protruding gears is removed. The sound-proof cover over the driving motor is attached to the camera housing with four screws. After these screws are removed the sound-proof cover can be lifted off. The driving motor is attached with three long, permanently mounted screws (IV/3). With the camera door open these screws can be easily loosened and the motor drawn out of its centering in the mounting plate whereby its connection releases itself automatically. Installation of New Motors: Remove motor pinion. Set motor in place without pinion and screw on; then set the motor pinion onto the motor shaft and secure it, thereby making sure not to damage the plastic teeth of the pinion.
7. Pilotone and Start Markng System The ARRIFLEX 16 BL Pilotone and start marking system is operationally similar to that of the other ARRIFLEX 16 cameras. A two-pole Pilotone generator is connected directly to the motor shaft of the governor controlled motor or the 50 cycle synchronous motor. This has the advantage that in spite of change of frame frequency between 24 and 25 fps, the Pilotone Frequency stays at a constant 50 cycles. The pilot voltage produced is led through Pilotone conductor and a terminal strip to the connection unit at the camera rear. This connection unit contains the automatic start marking system, the conventional 5-prong Pilotone socket (III/9) and, under a plexiglass cover, the control light for fulI frame exposure of the start marking system (left lamp.) This unit is equipped for manual scene marking, if the 1000 cycle oscillator is built into the tape recorder. For older tape recorder models with transversal recording, we supply a I000 cycle oscillator which can be built into the connection unit and which is push-button operated over a cable (socket III/10.) A second control light is built in as a control for the edge marking light (right-hand light.) The third control light (between the other two) serves as both a blink signal light for camera run and as a pilot voltage control. With cameras equipped for 60 cycle Pilotone (Pilotone from tachogenerator,) it is relatively easy to switch to 50 cycle Pilotone. Both wires (purple and brown) soldered onto the connection unit at points 37 and 38 must be reversed (see figure below and wiring diagram E 1/3/105,/6 E.) In addition, a motor with 3000 r.p.m. must be used (at 24 f.p.s.!!)
A. Changing the full frame exposure lamp (IV/4) In contrast to other ARRIFLEX 16 types this lamp is changed in the camera interior (see Fig. IV) by gently pressing and swinging the loaf spring on the lamp socket to the front and carefully pulling the lamp upwards. As the lamp goes in deeply and is rather long, care must be taken that the lamp is not bent. The lamp is inserted by reversing the process. When changing this lamp the control lamp must also be exchanged as both lamps are matched as a pair. Before changing the control lamp the plexiglass cover must be removed. B. Changing the lamp of the manual scene marking system Is just as easy. It is located underneath at the film gate (IV/5.) The leaf spring is pressed downwards, the lever is tilted forwards and the lamp socket is drawn downwards. The control lamp for this must also be changed.
Fig. I 1 Knurled knobs for adjusting bellows 2 Matte box boom 3 Plexiglass window 4 One of three Focusing grips 5 Lock: lens housing/camera 6 Magazine lid lock 7 Exchangeable pilot tone and start marking unit. 8 Lock to filter door 9 Focus index mark 10 Special zoom lever 11 Focal length adjustment ring 12 Push button to unlock lens 13 Short periscopic viewfinder 14 Collar for mounting eyepiece 15 Knurled ring for locking dioper adjustment 16 Diopter adjustment ring 17 Rubber eyecup 18 Lock to periscopic viewfinder 19 Camera door lock Fig III 1 Inching knob 2 Zoom adjustment lover 3 Push button release 4 Zero re-set for metre (footage) counter 5Toggle switch for forward a. reverse operation (only up to camera Serial Number 51200) 6 Removable toggle switch cover 7 Metre (footage) indicator 8 Power plug connection for camera motor 9 Connection for pilot tone a. start marking system 10 Connection for manual scene marking system 11 Connection for earphones 12 Operation control lamp 13 Start marking system control lamp 14 Control lamp for manual scene marking system 15 Tachometer (f.p.s.)
Fig. II 1 Magazine lock 2 Accessory shoe 3 Release 4 Hand grip 5 Matte box boom 6 Effects mask mounting 7 Matte box bellows 8 Hinge to filter door 9 Filter holder 10 Diaphragm adjustment grips 11 Camera motor cap 12 Zero re-set for footage counter 13 Film plane mark 14 Knurled disks for tightening film slack 15 Film supply indicator
Fig. V 1 Bellows frame 2 Lock for bellows 3 Filter door 4 Lens housing 5 One of the three locking lugs of the lens housing 6 Lens housing lock 7 Magazine mouth 8 Film channel 9 Filter Holder 10 Plane glass or filter 11 Filter holder recess 12 Filter door lock 13 Locking lugs of lens 14 Slots in lens mounting 15 Centering for lens housing 16 Push button to unlock lens 17 Mount for periscopic viewfinder 18 Periscopic viewfinder 19 Viewfinder adapter 20 Camera plug 21 Dryfit battery plug
Fig. IV 1 Transfer gear 2 Motor pinion 3 Mounting, screws for motor 4 Start marking lamp for automatic full frame exposure (exchangeable) 5 Manual scene marking lamp (edge marking exchangeable) 6 Ground glass with etched format 7 Mounting screws for ground glass holder.
Original manual distributed by Arnold & Richter K.G., Manufacturers of Professional Motion Picture Equipment 89 Turkenstrae 8 Muchen 13 West Germany Phone: (0811) 38091 Cables: Arrifilm Telex: arri d This manual converted to Electronic format by Tom Schlodder Atomic Box Productions Calgary, Alberta, Canada June, 2001
Any questions, comments, concerns or feedback regarding the transfer of this manual are appreciated. Happy Shooting!
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