ARRI 416 Plus Super 16 film camera, handheld
Super 16 Rentals · Processing · Scanning

Super 16mm
Film Camera Rental Los Angeles

Your 16mm concierge. We rent Super 16 film cameras, sell Kodak stock, get it processed, scan it, service the gear and teach you how to shoot it. One stop for everything 16mm.

Highline Camera Rentals rents Super 16 film cameras out of Los Feliz, Los Angeles: the ARRI 416 Plus, ARRI SR3 Advanced, a Super 16 Arri S, and our Bolex H16 fleet in both spring-wound and electric versions. Our Bolexes are serviced in-house by our Bolex repair team, and we stock Kodak film so you can pick up everything in one trip.

We can handle processing and scanning too. We’ve partnered with local labs and have our own in-house scanner. Shooting in LA from out of town? Our lab valet service takes your exposed film straight to the lab, so your negative never goes through airport X-rays or shipping, and your scans come back to you.

Super 16 Bolex H16 Rex-5 with Switar primes

Our Super 16 film cameras

ARRI 416 Plus Super 16 film camera package

Sync sound · PL mount · HD video tap

ARRI 416 Plus

ARRI’s last and most refined Super 16 camera. It’s quiet enough for dialogue, light enough to live on your shoulder all day, and built around modern PL glass and accessories, so it slots into a professional camera department without any compromises.

Our package also comes with three magazines, a 1.85 ground glass, LWS-5 support, extension finder, shoulder pad and an AZ Spectrum HD video tap for monitoring.

Best for: Narrative, commercials, music videos and anything with sync sound.

ARRI SR3 Advanced Super 16 camera package

Sync sound · PL mount · HD video tap

ARRI SR3 Advanced

The workhorse of Super 16 film production. The SR3 is quiet enough for dialogue, runs 400 ft magazines, and takes PL glass, and it has shot countless features, commercials and music videos.

The package also includes three 400 ft magazines, a 1.66/1.78 ground glass, a Visual Products Hyper Tap II HD-SDI video tap, ST-3 shoulder mount, side handle with run/stop, FE-4 eyepiece extension, V-mount power with two batteries and a changing bag.

Best for: Narrative, commercials and music videos, as an A camera or next to the 416.

Arri S converted to Super 16 with PL mount

MOS · PL mount · Compact

Arri S (Super 16)

The classic Arri 16 S, converted to Super 16 with a PL mount by Kamera Doctor. It’s small, rugged and simple, and it takes the same PL lenses as the 416 and SR3, which makes it an easy A camera for MOS work or a B camera next to either.

A crystal motor is also available.

Best for: MOS shooting, inserts, second unit and B camera.

Super 16 Bolex H16 Rex-5 spring-wound film camera

Rex-5 · SBM · No batteries

Bolex H16: Spring-Wound

The Bolex that film schools were built on. A wind-up spring motor runs the camera, so there are no batteries to charge and nothing to fail in the field. Speeds run from 12 to 64 fps.

The Rex-5 is C-mount and comes with Switar primes. The SBM is bayonet mount, with a PL version paired with Zeiss Super Speeds.

Best for: Travel, documentary, experimental work and first-time film shooters.

Bolex EBM Super 16 with OFG HD video tap

Battery-driven · Bayonet, PL or C-mount · Video tap option

Bolex H16 EBM: Electric

Same Bolex image, no winding. The EBM runs on battery power, so you can roll the whole load without stopping to wind. That makes it a better fit for music videos, performances and longer takes. Speeds: 10, 18, 24, 25 and 50 fps.

Need to see what you’re shooting? Our EBM with OFG video tap replaces the optical viewfinder with a flicker-free HD-SDI feed and adds crystal sync at 23.98, 24 and 25 fps. There’s also a V-mount build with a custom run/stop grip.

Don’t need a video tap? If you’d rather go old school and shoot through the viewfinder, we also rent unmodified EBMs with the original reflex viewfinder, in bayonet, PL or C-mount.

Best for: Music videos, longer takes, and shoots where the director or client needs a monitor.

Why shoot Super 16?

Nothing looks like film

Grain, texture, the way highlights roll off and skin tones hold. Digital can imitate it, but it never quite gets there. Super 16 has more grain than 35mm, and that’s the point: it has character.

Half the cost of 35mm

Super 16 uses a fraction of the film stock, processing and scanning of 35mm, and the camera packages cost less too. Compared with a loaded digital cinema package with a DIT, a Super 16 shoot is often the more affordable option.

Wider frame, made for 16:9

Super 16 extends the image into the area that standard 16mm reserves for a soundtrack, giving a roughly 1.66:1 frame. As a result, it fits a 16:9 or 1.85 finish with very little cropping and scans cleanly to 4K.

Small cameras go anywhere

A Super 16 film camera like the Bolex or Arri S fits in a backpack, and a 416 lives on your shoulder all day. So you can shoot in cars, crowds and tight spaces where a full-size rig won’t fit.

It changes how you shoot

When every foot of film counts, everyone on set pays attention. In turn, rehearsals get tighter, takes get more intentional, and you come home with less footage but more usable material.

Your negative lasts

A processed negative can be rescanned years from now at whatever resolution comes next. Film keeps.

Super 16 FAQ

Book your Super 16 package

Tell us your dates and what you’re shooting. We’ll put the package together.

Request Gear → View Rental Catalog →

We are an official distributor of Kodak motion picture products