The philosophy behind Aaton's in-camera timecode system, from production to post.

Born of Aaton's intrinsic desire to streamline and simplify the filmmaking process, and honed over the years as technological advancements have allowed, AatonCode has, at its very root, a few basic philosophical and operational theories. Understanding these beliefs will give you a good base for more easily grasping the finer technical points that follow.

Real Time Recording
The philosophical foundation of Aaton's timecode system is the use of a real time base. By choosing to record a true time and date on the camera negative(s) and field audio during production, rather than just a non-time related "SMPTE timecode" "q_remote" , we are ensuring that a unique and non-repeatable address lives on the image and sound originals forever. During the automatic syncing process, the non-repeatability of the code guarantees that only one piece of audio will be associated with a particular image. This real time stamp also becomes essential for relating this code to image for many purposes beyond syncing, such as documentary continuity and for archival & future retrieval.

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During the Shoot
Timecode is input into the camera by jam-syncing from any standard SMPTE sound recorder, or more effectively, with the use of the OriginCplus masterclock. OriginCplus both initializes and monitors code in all timecode devices on set and ensures the systems accuracy and real time base.

Once initialized, each device on set counts time independently, yet in sync with one another, with no cables or other ties between each unit. The camera is freed from the audio recorder and clapstick, as synchronization of sound is achieved not out in the field with the clap of a slate, but later in post-production thanks to the common real time address recorded in all devices. Complete freedom in the field is one of the most compelling reasons why AatonCode is a great asset to the filmmaker both creatively and financially. Refer to the following section for a complete explanation of the benefits of AatonCode.

Enter...Keylink
The Keylink, Aaton's all-in-one film code reader, transfer database and management system for the telecine, represents the bridge from film to video. Keylink reads AatonCode and Keycode off the negative during film/tape transfer and correlates the data from each film frame to a field of video for a frame accurate description and path back to the negative.

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By reading this real time address and simultaneously feeding its audio timecode equivalent to an audio chasing machine, Keylink can perform non-stop automatic syncing of your DAT or 1/4" field audio, in suite, during the transfer. Keylink can even go one step better and ingest Jaz drives or CD-Roms containing your digitized field audio to perform true InstaSync transfers. The "InstaSync" feature allows for on-the-fly audio syncing with audio locked to image within one frame of the start of each take. In this case, the telecine can roll continuously and no film or audio preroll is required.

Keylink also functions as a multi window and Virtual Slate inserter, a standard and 3-line VITC (vertical interval timecode) inserter in both the analog and digital domains, as well as a comprehensive information manager.

Keylink can print event lists and deliver database files in a number of formats for immediate ingestion by non-linear systems. Currently, Keylink database files are available in AatonBase, standard Flex, Keylog and AatonList (ATN).

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3 Line VITC - Providing a Common Thread
As non-linear editing systems rapidly become the industry editing standard, the use of AatonCode along with Keylink's database provides filmmakers with unlimited and easy access to their original film footage for reuse. Thus, it is very important that any digitized video image carries all the data which is necessary to locate, retrieve and retransfer the original negative material.

That is why companies such as Aaton, "Avid" "q_remote" , "Lightworks" "q_remote"  and "Evertz" "q_remote"  are strong proponents of 3-line VITC, a format in which 3x the amount of information is recorded in the same area as traditional VITC.

Today, non-linear systems from Lightworks and Avid are taking full advantage of the speed and efficiency of the AatonCode / Keylink process because of their capability of reading 3-Line VITC directly from the transferred material.

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Complete Audio Flexibility with InDaw
To provide maximum ease and flexibility of audio syncing for both the transfer facility and the filmmaker, Aaton recently created the InDaw audio sync station.

InDaw, a standalone PC, functions initially as an audio digitizer (DAT or 1/4" to Jaz, hard drive or CD-Rom). The resulting digitized audio is created for the purpose of direct ingestion into Keylink (for InstaSync sessions), Lightworks or Avid. CD-Roms also prove to be an ideal and affordable audio archival format.

As an option, InDaw can also sync audio on its own by reading timecode information from a 3-line VITC transferred tape and instantly providing the appropriate associated audio from its internal hard drive, Jaz drive or CD-Rom.

Devices such as InDaw reaffirm Aaton's philosophy with regard to in-camera timecode and filmmaking as a whole: freedom. Freedom from restrictions allows you to concentrate on creativity. Operational freedom allows you to choose the process that is most beneficial, depending on what's important to you for each particular project; whether that be ease-of-use, efficiency, creativity or cost.

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The Benefits of AatonCode
Now that we've discussed AatonCode in a conceptual form, let's examine the importance of the system in a real world environment. Here's an explanation of the advantages, from general to specific, of shooting with in-camera timecode:

Time Savings

• In feature film shooting, AatonCode allows for greater speed on set, maximizing takes while minimizing time between them.
• In a documentary environment, slateless shooting decreases set-up time, while adding to content value and flexibility.
• AatonCode provides automatic, on-the-fly audio sync during transfer or removes the sync process from the telecine room entirely. This procedure moves the production out of the transfer room as soon as possible.
• In post-production, the use of AatonCode and the information in Keylink's database reduces event-logging time for the editor's assistant.

Cost Savings

• On the set and during transfer and post, time is indeed money. Almost all of the time-savings examples mentioned above translate into a dollar amount savings down the line.
• During a feature, commercial or documentary production, eliminating the need for the slate for sync purposes saves on raw stock and processing.
• During interviews, AatonCode allows the DP and/or Director to turn the camera on and off at their discretion in order to save film, while rolling audio continuously for full coverage.
• Because of the added efficiency during telecine, transfer costs can be reduced by as much as 20-25%, depending on the project and facility used.

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Creativity

• In cinema vérité situations, the disappearance of the slate will allow the filmmaker to create a more intimate setting and to elicit a more natural reaction from the subject.
• Sometimes, the use of AatonCode can open up entirely new concepts or possibilities that could not be achieved in traditional slate situations.

For example, AatonCode was vital to the format chosen for "Lauren Hutton And..." "q_remote" a 1995 late night talk show originating on 16mm, which required two cameras to run independently and unobtrusively without slates for full, uninterrupted coverage. Interviews were shot in real time and aired without breaks (other than commercial), as if they were recorded on tape.

Flexibility

• In documentary and live performance situations, AatonCode gives the filmmaker the freedom to roll at will and to operate completely independent of other cameras and sound recorders. This is extremely valuable in multi-camera concert situations, in which the operator can concentrate on the performance, rather than hunting for a slate or timecode reference.
• The common timecode reference recorded on film and audio during production allows for complete freedom to marry audio to image at many points of the post-production process (during telecine, afterwards in a tape-to-tape session, via InDaw, or during the non-linear editing process).

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Archival

• AatonCode's real time reference on the negative is the first, all-important step towards a definitive means of archiving film source material.
• Information recorded on the negative follows the image throughout all stages of the transfer and post-production process. This allows for later access by the user in a host of ways (manually read off the negative, machine-read off the negative, manually read off the videotape, machine-read off the videotape via VITC, or via the database file). This array of organizational options allows a production company or institution to more easily implement AatonCode film into any pre-existing archival program.

What You Need - An Equipment Overview
So, you want to take advantage of the benefits of in-camera timecode and utilize AatonCode on your next shoot. Here's exactly the equipment you will need, both in the field and during telecine transfer, to do the job.

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