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Keylink 6.0, 24 at 30, AVID, & the meaning of life...

I am working on an unusual project involving retrofitting a keycode =
to a custom built 65mm VistaVision projector, feeding the projector's
output to a video camera hooked to a DDR, transferring the results to an
AVID for editing, then conforming the AVID list back to the 65mm neg.

The 65mm projector is a stepping (not 24fps) device running at about 8-15
fps, outputting a GPI pulse to fire a frame record on the DDR.  The DDR
output when played back at normal speed will obviously be running 25% too
fast.  The DDR is not the high end type normally used in TC, so existing
macros people have written to make the playback return to 24 fps will not
work here.  For the purposes of this discussion, we must assume the DDR =
only capable of 30 fps playback.

I have been in touch with Aaton in France, describing the situation to
them, and have gotten the following reply:

"Keylink V6.0 incorporates a program which allows the transfer of 24fps
shot films to 30fps NTSC tapes with no 3:2 compensation on a 30fps =
telecine.  This configuration is called 24 at 30. It is a true frame for =
transfer, exactly what happens in Europe when you transfer 24fps films to
25fps PAL tapes."

"For sure there is a noticeable acceleration when you look at your =
Then you digitize the 30 fps video into the Avid , which will play back =
stored images at 24fps."

"The first thing for you to do is to have a standard 24fps 35mm film
transferred at 30fps in a V6.0 Keylink equipped facility, take the FLeX
list and see what happens at the Avid level, as I am not certain all Avid
NLEs can handle the Keycode lists generated by this straightforward

"If it works, we will start thinking about making the keylink work in a
step by step environment; which seems not to be that simple..."

And now for the questions:

Anyone using Keylink 6.0 that has tried anything like this, or even
something vaguely similar?

Does it even sound feasible?

Since Aaton seems to believe that getting keycode numbers in a =
environment is not easy, how is it handled when you do pin registered
non-real time transfers in TC?

Are some AVIDS more equal than others?  Will some be able to handle this
and others not?

Thanks for any light anyone can shed on this.

Bob Kertesz
Blue/Green/Screen LLC

The Ultimate in ULTIMATTE compositing