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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?

35-4Perf, 35-3Perf or Super16?  For many production companies,
that is the question.
Don't panic Mr Flee, since 1985 Aaton & Panavision are working 
on the problem...

On a 3Perf shooted film, the 35mm Keycode dot - primarily designed 
for 4Perf pull-down filming - regularly changes position relatively 
to the frame line. 
But the Keylink automatically phases its keycode reader to the 
frame sequences [(21+21+22) x 3 = 192 perf] of the 3Perf pull-down
(where three identical sequences [(16+16+16) x 4 =192 perf] were 
showing in the 4Perf pulldown).  
To help the negative cutter confirm his decisions, an index
showing the 21/21/22 sequences is inserted in the keycode window, 
and into the 3LineVITC too.
ATN lists (Avid eatable) are generated in Keycode and frame numbers 
which can be read under the same rules as 35-4Perf lists.

We never heard of a problem syncing 35mm 3Perf to tapes or disks 
through audio LTC or VITC communication.
If your question is related to fullcoat mag-followers, the 3Perf telecine 
biphase tacho (two or ten pulses per frame) will easily control 
the (two or ten pulses per frame) 35mm 4perf mag-follower at its
normal linear speed (totally compatible tapes).

    A dream:
    Keycode is marked every 60 perf instead of 64:
    4Perf pulldown (every 15 frames) and 3Perf (20 frames) are compatible.

Jean-Pierre Beauviala          jpb at aaton.com                 www.aaton.com