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Re: Aaaaton,GOD HELP US - The aaaanswer!
>For weeks now,there seems to be constant procrastinating about the difficulties
>encountered by Aaton users.
Being a newcomer to TIG, it seems to me its used as a short cut for some
who have just not read the KeyLink manual and had a play on it - Using TIG
instead of the manual can however, be a great way of simply getting the
'good oil' from those who know. "Difficulties" are in the majority of
>The Aaton works well in a perfect world. But we don't live or work in a
>perfect world and therefore the Aaton could also turn out to be a waste of
>time,money & MAN POWER.
With respect - you're obviously a person who has never used the latest
KeyLink on AatonCode job - doing so (once you've been shown how) can only
result in love
and more time spent on looking after the pictures in telecine.
>Down here we have opted to the old "editron" or "edit controller" type devices
>for our sync and have 100% accuracy & great efficiency without the head aches
Having introduced the timecode slate to Australia myself more than a decade
ago, the complaint has always been about sync inaccuracies - particularly
relating to the lack of frame genlock to the code, creating indefineable
timecode numbers on the slate, even if the crew had managed to shoot it in
frame and in focus.
The on set routing the timecode to the slate has often been a minefield for
sound recordists with everyone doing something different thus creating the
headaches of varying sync offsets and accuracy.
"PASS ONE - PASS TWO" on the KeyLink (an Australian suggestion) solved the
problem of stopping and starting the VTR when syncing timecode slates - but
it didn't make the slates any easier to read!
I've been shooting and telecine syncing with AatonCode myself now for
nearly 5 years now and once you learn how to do it - it truely is a
But more importantly, its advantage is in making film production less
expensive and its savings has resulted in many jobs of ours being able to
be shot film rather than videotape. (One of the big ones for us this year
was the Don Bradman Doco for the Nine Network - Originally to be shot
Betacam, this was won across to SUPER16x9 AatonCode because, we did not
have to interrupt the interview with slates)
With respect your method of sound syncing in telecine with the old
"editron" or "edit controller" is too slow and thus too expensive. (We
junked our editron years ago) We've found that once a customer uses
AatonCode they never want to - or can afford to - go backwards.
>If a client specifies Aaton for a job, then get it in.
Every major leading Post House in Australia and New Zealand now has an
>+/- 1 frame accurate on the fly why ask for trouble!!!!!
Education is the key to accuracy - sync on the fly is all about cost and
turnaround speed. AAV in Melbourne has gone non linear sync in telecine
with AatonCode and I'm told it works brilliantly.
But in the new year what we are really waiting on is AATON's new INSTANT SYNC
non linear audio syncing option for KeyLink using the new FILMWAVE format
will for me really complete a brilliant system.
For us the Aaaaton has been the aaaanswer!
Merry Christmas & Happy New Year - to all TIG users
John Bowring jbowring at lemac.com.au
Lemac Film & Video, Australia
Phone +61 3 9429 8588 Fax +61 3 9428 3336