ARRI 16SR2

arri 16sr arri 16sr3 arri 416 aaton xtr eclair acl

16mm shoulder-mount camera with refined shutter mechanism and quiet motor. Reliable workhorse for documentary and broadcast. Field-serviceable, stable enough for sync sound.

What is the ARRI 16SR2?

The ARRI 16SR2 (1982) is the second generation of the revolutionary ARRI 16SR. It brought significant improvements in ergonomics, viewfinder quality, and noise level and became the standard for 16mm productions in the 1980s – from TV documentaries to indie feature films.

Technical Specifications

Feature	Value
Format	16mm / Super 16
Weight	4.6 kg (Body)
Frame Rate	5–75 fps
Shutter	180° (fixed)
Noise	~22 dBA
Mount	ARRI Standard / PL
Magazines	120m / 300m

Evolution of the 16SR Line

Generation	Year	Improvements
16SR	1975	Revolution
16SR2	1982	Ergonomics, Viewfinder
16SR3	1992	Super-16, Quietness
416	2006	Last Film 16mm

16SR vs. 16SR2

Characteristic	16SR (1975)	16SR2 (1982)
Noise	~24 dBA	~22 dBA
Viewfinder	Standard	Improved
Ergonomics	Good	Better
Super-16	Conversion	Conversion (easier)
Electronics	Analog	Improved

The Improvements

Viewfinder

Larger viewfinder image – Better overview
Brighter viewfinder – Less light loss
Improved optics – Sharper assessment

Ergonomics

Optimized grips – Better handheld comfort
Repositioned controls – More intuitive
Improved balance – Less fatigue

Noise

~22 dBA – Quieter than original 16SR
Improved damping – Better sound recording
Smoother running – Less vibration

Notable Productions

Production	Year	Type
Various TV Documentaries	1980s	Documentary
Indie Feature Films	1980s–90s	Feature Film
Music Videos	1985–95	Music
News Features	1980s–90s	Journalism

16SR2 vs. Aaton XTR (1980s)

Feature	16SR2	Aaton XTR
Noise	~22 dBA	~21 dBA
Weight	4.6 kg	4.8 kg
Ergonomics	ARRI Style	"Cat on Shoulder"
Timecode	Optional	Integrated
Distribution	Global	Europe/USA

Decision:

16SR2: ARRI ecosystem, more robust
Aaton: Ergonomics, Timecode

Typical Configurations

Documentary Filming

16SR2 Body
120m Magazine
Zeiss 10-100mm Zoom
Nagra Sound Recorder
Weight: ~7 kg complete

TV Production

16SR2 Body
300m Magazine (27 min)
Zeiss Prime Set
Follow Focus
Weight: ~8 kg complete

Indie Feature Film

16SR2 Body
120m + 300m Magazines
Zeiss Super Speed Lenses
Matte Box
Weight: ~9 kg complete

The Super-16 Potential

Conversion to Super-16

The 16SR2 could be converted to Super-16:

Aspect	Standard 16mm	Super 16
Image Size	10.3 × 7.5 mm	12.5 × 7.5 mm
Aspect Ratio	1.33:1	1.66:1
Blow-up to 35mm	Possible	Better
HD Scan	Good	Better

Conversion Costs (1980s)

ARRI Workshop: ~$2,000–3,000
New Gate + Viewfinder Adjustment
Few Weeks Duration

The Legacy

In the Industry

Standard for TV Documentaries
Indie Film Renaissance
Music Video Era

Successor

The 16SR3 (1992) took over:

Native Super-16
Even quieter (~20 dBA)
More modern electronics

Today

Aspect	Details
Used Price	€3,000–8,000
Availability	Good
Service	ARRI Network
Spare Parts	Available
Status	Discontinued (1992)

Current Usage

Film Students – Affordable entry
Collectors – Historical piece
Indie Production – Authentic film look
Music Videos – Retro aesthetic

From the crafts

Perspectives

Cinematographer

Die 16SR2 war die verfeinerte 16SR – leiser, ergonomischer, mit besserem Sucher. In den 80ern war sie der Standard für ernsthaften Dokumentarfilm. Robust, zuverlässig, und sie lieferte immer.

Director

Die 16SR2 war die Kamera, mit der ich aufgewachsen bin. Ob Indie-Film, Dokumentar oder TV – sie war überall. Der Look dieser Ära ist der 16SR2-Look.

Producer

Die 16SR2 war wirtschaftlich optimal – professionell genug für Broadcast, günstig genug für Indie-Produktionen. Das beste Preis-Leistungs-Verhältnis ihrer Zeit.