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Aatoncode-II and 1080p/24Hz
- To: "TiG" <telecine at alegria.com>
- Subject: Aatoncode-II and 1080p/24Hz
- From: jp <jp at aaton.com>
- Date: Tue, 16 Feb 1999 11:04:19 +0100
- Resent-Date: Tue, 16 Feb 1999 04:21:02 -0600
- Resent-From: telecine at alegria.com
- Resent-Message-ID: <"mQNjyC.A.ke.lZUy2" at sun>
- Resent-Sender: telecine-request at alegria.com
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CB Gaines Monaco Video, San Francisco
cbgaines at inreach.com 2/11/99 5:08 :
> If we have a client using the new camera (AatonCode-II),
> will we still be able to transfer and sync albeit with lesser
> efficiency using our version 6.4 software, or, as I read it,
> will we be incapable of decoding the AatonCode?
At a time when the film industry as a whole (and telecine
facilities and you, colorists) will have to face the formidable
threat of the coming 1080p 24Hz video origination, our duty
--as a film camera manufacturer-- is to improve film origination
performances wherever our know-how can bring something to the
film post-prod chain:
- one is sound syncing efficiency through real time recording
(AatonCode-II, InDaw, etc.)
- the other is electronic registration (only optical fiducial
marks recorded by the camera itself can bring to film an
No, AatonCode-II is not readable 'with lesser efficiency'
by former Keylink softwares. This would not be the right way to
defend film origination in the coming film/HDV war.
Fifteen years of Aatoncode-I (1984-1999) gave us time to learn
the in-camera time recording shortcomings. AatonCode-II corrects
them, improves sync accuracy and operates at all camera speeds,
one advantage of film over video.
Be reassured: we asked the Keylink designers --while they were
at inventing new tricks to read Aatoncode-II--, to also make
version 6.7 better at reading older cameras' Aatoncode-I.
We don't want to saw off the branch on which we all --film workers--
Thanks to Bill Hogan of Sprocket Digital for support in 1999.
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