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Re: Re: Real Time Steady Gate Which camera to use.

In a message dated 10/22/1998 11:25:34, you wrote:

<<As an editor/compositor, what advise do you and others give regarding what
tell clients about to shoot layered material in so much as to what kind of
camera has the best steadiness control ? >>

A well maintained camera is steady. A poorly maintained camera is not.
I had an old Eclair A.C.L. ( 16mm) The Specs on that camera was vertical
stability of 1/1000 the image height. Aaton's are spec'd at 1/2000 of image
height if I recall. I am not sure of Arri - SR Specifications.
Is 16mm still being steadied by a side roller, that I think would tend to
favor the Aaton, over the Arri ( which has a reg pin). 

In 35 mm.
Oxberry, with Pins that are part of the Aperature plate and never move is
steadiest - IMHO ( also in 16mm)
Mitchell, has two Reg pins, , as done Panavision ( I'm not sure if both are
fully fitting, I think Only one is.)
The Arri 35BL -1 had four pull down claws ( two double pronged claws) and two
Reg pins, later 35 BL madels had just two pull down claws.
( two reg pins, one fully fitting, one has a little clearance side to side I
Arri IIc, No reg pin ( A well maintained camera ...)
Arri III Has a single Reg pin, however it engages a perf other than the perf
engaged by an optical printer for registration, so in theory it could be a
problem. (I have worked on commercials which used an Arri III for doing
composites, and they were fine.)  However For film Matte roll opticals, an
Arri III isn't used very often ( ever?)
I'm not sure of the newer generation of Arri Cameras, the 535, and the 435,
however I believe both have two Reg pins, and they both engage the Industry
standard perf ( as in the 35 BL system)
I can't swear to the moviecam, it has been a while since I've seen it, but I
believe it also has the two Reg pins.
Hope this helps
Steven Gladstone

Thanks to Glenn Eason of Hillcrest Engineering for support in 1998.
No product marketing allowed on the main TIG.  Contact rob at alegria.com
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