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Perhaps the most basic and frequent request of first time AatonCode users is a demystification of Aaton's chosen timecode format; how it is similar to and how it differs from "SMPTE timecode".
Evolution of the Species
Thanks to the proprietary nature of its matrixes, AatonCode is regularly improved
to fulfill demanding user requests. For example the new AATONCODE-II which will
be introduced end of September 1998 is much more resistant to operators' wrong
ISO settings, offers a 'better than clapstick' half-frame accuracy, and handles
non-sync speeds too. The higher accuracy new AATONCODE-II is readable by Aaton
Keylink only.
AatonCode is a proprietary ASCII-based in-camera timecode format and contains the following specific information:
year, month, day, hour, minute, second, frame, production ID (6 digits), camera ID, camera speed, a zero frame indicator (in 35 format only), additional synchronizing data.
AatonCode is completely compatible with film manufacturers' keycode and man-readable key numbers.
During filming, AatonCode is exposed in the form of a matrix by means of a row of seven red diodes located in the camera gate. Each matrix formed is 7x13 dots in size. The resulting 91 bit code is located on a specific part of the negative between the perforations, outside the picture area.
In 16 and Super16 formats, AatonCode is located on the non-Super16 side of the film, in the large open area between the perfs, inside the location of keycode (see below).
In all 35 formats, AatonCode is located outside the perfs on the side opposite keycode (see below).
In addition to this machine-readable matrix, AatonCode protocol calls for human-readable characters to be periodically recorded in place of the matrix. Generally speaking, the man-readable time (hr/min/sec) will appear once every second, while less critical data, such as date, prod #, camera ID, will appear once every three seconds.
The man-readable characters play two important roles:
AatonCode is completely compatible with audio recorders and other devices found on set running standard SMPTE timecode. In fact, all Aaton cameras, as well as OriginCplus and GMT timecode generators, can communicate directly with devices delivering a standard SMPTE signal.
SMPTE timecode is the industry standard format for video timecode and contains the following specific information:
hour, minute, second, frame, and 8 groups (digits) of user determined bits and additional synchronizing data
The basic SMPTE encoding containing the above info is 80 bits in size.
If you compare the information in Aaton and SMPTE timecodes, you'll notice that AatonCode contains all of SMPTE's basic information, with a few key differences. This comparison provides some of the insight into the main reasons why Beauviala chose to stick with AatonCode as his front end information acquisition format while most of the rest of the industry quite naturally adopted the SMPTE timecode standard:
Overall Code Size the more robust AatonCode (91 bits, compared to SMPTE's 80) allows the room for more information, above and beyond basic time and date. Such additional information, such as camera ID, production # and camera speed, help further identify the image and, most importantly, ensure the absolute uniqueness of the time stamp.
Defined Bits vs. User Bits to help enforce the use of a real time base and to guard against timecode repeatability, AatonCode contains bits specifically designated for date (Year / Month / Day) information. In a SMPTE environment, however, eight digits (16 bits) of the code are designated as user bits. In other words, it is left up to the individual to determine the best use of this area. Regarding audio timecode, it is a common practice to use six of these eight digits to store the date.
Due to the very fact that the date is user determined, there are now two date configurations commonly used. The American SMPTE date order is Month / Day / Year, while the European order is Day / Month / Year. To make matters more confusing, AatonCode adheres to the European date standard, while most of the audio recorders designate the American configuration as their machines default date order.
The following chart lists the devices, and what you'll need to do to make them compatible with AatonCode.
** Anyone with an updated "Fostex" "q_remote" PD-4 (software 2.1 or better) can set the user bits to the Aaton-friendly date format by going to soft-function #411 and setting it to "1".
* To change the date format on the "HHB" "q_remote" Portadat, you'll need to go under the hood. First, remove the top lid from the unit. Next, locate the jumper marked 'date' (on the Key Main PCB) and unbridge the jumper to set the unit to the AatonCode date configuration.
*** A foolproof way to avoid the date issue entirely is to utilize an Aaton GMT. GMT is a small standalone highly accurate timecode generator designed to be attached to digital audio recorders, timecode slates and other timecode devices found on set. GMT's main roles are to increase timecode accuracy on set and ensure date integrity.
Check out the section entitled GMT and OriginC, to learn more about the features and functions of GMT.
The importance of having the proper date order in the audio timecode very much depends on the type of project and the means by which you plan to sync your audio. Here are three instances that call for date integrity:
Multi-Day Shoots As a rule, the date is vital when shooting any project over a period of days. The date is the uniquely identifying element to distinguish between audio rolls with identical time-of-day timecodes.
Archival For documentary, sports, and longer form projects, the date plays an important role for editors and archivists.
Syncing from hard drive, Jaz or CD-Rom With the advent of post-production audio digitizing devices, such as InDaw and Sadie, it is becoming more common for the facility to transfer your audio from 1/4" or DAT to hard drive, Jaz drive or "CD-Rom" for more instant and failsafe audio syncing. Because it is possible to digitize many days worth of audio on to one hard drive, the date is once again the essential differential between audio with identical times.
Although it is true that on many projects, such as one day jobs with no archival value, the date may not play as important a role.
But, with the growing practice of facilities offering InDaw sync services, the date is a key element for them to provide digitization and sync for you as quickly and efficiently as possible.
For example, Colorlab in Rockville, MD is using InDaw for syncing at no charge to the client. So, whether or not date integrity is important to you, it will be important to facilities like Colorlab when it comes time to sync your footage.
Therefore, it would be advised, as a precautionary measure, to always consider date integrity to be a key element. It's your safest course of action.
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