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>>What are folks out there doing for 3-perf jobs?  I'm not so
concerned with the actual transfer, but what systems can handle
the odd pulse counts for timecode generation and how in the world
can you get a FLEx/KL file from this?  And what about audio synch?<<

Well, let's start with the easy stuff. Sound sync is not an issue, it's no 
different than any other format and is only dependent upon the frame 
rate (usually 24 fps). Pulse counts for time code -- I don't know what you
mean by this. Any telecine that can transfer 3 perf is simply putting out the 
same number of pulses per frame as in 4 perf. And timecode is only
relevant to videotape, unless you're using Aaton code, in which case you
still get one matrix per frame (Panavision has always had a 3 perf 
implementation, since 1985). 

Negative information is another story. Neither TLC nor Pogle editors support 3 
perf frame rollovers of 20/21 frames per foot. And neither one supports
64 frame rollovers using every third key either. So most facilities simply 
enter the key number by hand after the transfer, on a shot by shot basis 
using a window supplied by either the Evertz reader (which supports 3 perf)
or the Keylink system. Avid only supports 3 perf in the Media Match program,
which runs separately from the Media/Film Composer and is reliant on time
code for its calculations. The Film Composer itself does not support 3 perf.
The last time I checked, Lightworks does not directly support 3 perf keys 
either, so in order to get negative cutting information, you would have to rely
on a 3rd party software program. In the case of Warner Brothers, which is the
primary company I know of that is actually assembling 3 perf negative, they use
a program written quite a few years ago by the Laser Edit people. I believe that 
Laser-Pacific uses the same program (since they own it). 

Mike Most, Encore Video, L.A.