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2K DataMode: Keylink reads Keycode down to 2fps, and delivers 100% accurate data which is inserted by Spirit and C-Reality telecines into the 2K stream.
1080/24p: Keylink simultaneouly creates two transfer lists (one at 24 for 1080/24p and one at 30 for down-converted NTSC). The lists carry Keycode and Audio-Tc into both HDTV and SDTV editing stations. 3LineVITC and windows keying is done during the HDTV transfer into the down-converted output of the recording VTR (eg Sony HDW-F500); there is no more a need to perform a second pass through a post-keyer! (2K and 1080/24p are free v.8 options)
Keylink eliminates the many boxes that clutter telecine bays: the HDTV keyer is a board* installed along with the SDTV Analog and 4:2:2 keyers in the PC which handles code reading and data logging as well.
* The Aaton HDK 292M board inserts VideoTC, Keycode, AudioTC, Lab reel ID, Video tape ID, etc. into the metadata lines of the SMPTE 274M formats, while the 4:2:2 keyer burns 3LineVITC and windows in the SDTV channel (board to be released as soon as the SMPTE metadata recording RPs are published).
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Keylink stores innumerable hardware related settings (film format, camera frame rate, noise reducer delay, pull-down sequence, etc...), plus customer's Vitc and window preferences (up to 14 analog & digital windows can be positioned anywhere in the image). Head focusing, film format and burn-in windows can be modified during the transfer session from within the colorist's working screen.
Important note: Only Keylink reads and fully exploits the new tenth-of-a-frame accurate AatonCode-II which is a major improvement over former in-camera codes because it brings much more accurate audio-sync than clapsticks could ever hope to!
The film camera speed is encoded to the 1/100 of a frame, the colorist 'knows' for sure the shot is 29.97 and not 30fps... AatonCode-II speeds up timecode recognition for faster head-of-take auto-detection; it also carries the film magazine IDs in the Keylink database... a good feature when it comes to tracing magazines in multicamera shows.
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The InstaSync option makes Keylink the fastest telecine syncing system around: syncing in just one frame it by far surpasses the 1 to 7 seconds required by other audio synchronisers. The disk copies of on-location audio tapes are made on an Aaton InDaw workstation (see p.4) while the film is being processed; they arrive in time for the negative - with AatonCode, ArriFis, digislates or clapsticks - to be synced on-the-fly during the telecine transfer.
InstaSync is so fast it totally eliminates the start-of-take sound voids commonly found in non-stop transfers: with AatonCode or ArriFis, the sound appears on the first image of the take; with Slates, the sound shows as soon as the colorist clicks the audio preloaded scene/take ID corresponding to the one visible on the slate.
Post-telecine syncing is eliminated; databases are Audio-TC
accurate; sync rushes are delivered quicker and at lower cost.
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