American Cinematographer - December 1980 - 37

ceived as such, it can appear to
be lack of sharpness. A regis¬

tration-pin movement costs
more money. So does a firstquality lens. They go together.
It would be illogical to save
money by matching an expen¬
sive lens with a pinless camera.

always necessary?

Is it

Movies have been made

without
course.

a

registration-pin, of

But the pin can improve

image quality from good to
excellent. And it provides as¬
surance

that the

camera

will

perform under adverse condi¬
a very long time.

tions and for

No; just sometimes.

nS

Interaction toler¬
ance: 0.0004 inch.

If you
ical

have to shoot in trop¬
freezing weather, or in

or

high humidity. If you're under
extra G force loads

I

pin positions the film, slowly,
and holds it there during the
exposure, motionless.

\

inch.) The pin is
shaped like an optical printer
sprocket. And since it moves
ance

is 0.0004

the film to its final exposure

position, the relationship of the
image to the sprocket-hole is
identical every time.

or

the pin

engaged in a film perforation
at all times. At every stage of
the pulldown, positioning and
exposure cycle, the film is
under positive control.
is

a car or

camera

Double exposure
steadiness test:

Each

new

16SR is tested

by running a length of film
through it. As part of the test,
we shoot a grid-pattern target.
After the first exposure, we off¬
set the target slightly, wind the
film back and re-shoot (see
illustration above).
When you buy a 16SR,
you get the test
film for that camera.

The heart of the matter:
Control at every step.

Either the claw

'"TTT

ca

These are distinct func¬
tions. In the 16SR, therefore,
claw and pin have independent
control mechanisms. (Never¬

theless, their interaction toler¬

I

r

(in

is getting
on in years, or hasn't been over¬
hauled lately. If you have to
super titles, or shoot at high
speed. If the rawstock isn't
fresh out of the refrigerator.
That's when the registrationpin earns its keep.

plane). If the

project each camera's
footage. If film registra¬
tion weren't perfect, the super¬
imposed second grid image
We

test

would be seen to move on the
screen in relation to the first.
But it doesn't. When you buy
a

16SR, you get a small blue
containing that piece of

16SR
You get
what you
pay for.

box

test film.

ARRI
ARRIFLEX CORPORATION

How

It

sharp is that lens?
depend on the camera.
Before image unsteadiness

can

gets bad enough to be per¬

500 Route

303, Blauvelt, New York 10913.

(914) 353-1400. And 600 No. Victory Blvd.,
Burbank, California 91502. (213) 841-7070.
Canada: ARRI/NAGRA Inc., 6467 Northam,

Mississauga, Ont. L4V 1J2. (416) 677-4033.



American Cinematographer - December 1980

Table of Contents for the Digital Edition of American Cinematographer - December 1980

American Cinematographer - December 1980 - 1
American Cinematographer - December 1980 - 2
American Cinematographer - December 1980 - 3
American Cinematographer - December 1980 - 4
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American Cinematographer - December 1980 - 97
American Cinematographer - December 1980 - 98
American Cinematographer - December 1980 - 99
American Cinematographer - December 1980 - 100
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