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Basil Pappas CBS NY  7/4/97 5:52  wrote:

> I find it alarming, to say the least, that one of the most 
> prominent labs in this city has no idea how ACMADE ink numbers 
> are used in feature film production.

Having a foot on both sides of the fence, may I bring my perspective 
to your and Mike's 'alarmed' observations?  
As a telecine code reader manufacturer we are doing our best 
to properly handle Acmade numbers(1); yet as the AatonCode inventor 
we promote in-camera TC recording which makes rubber-numbering 
redundant in many of its applications.

 (1) Keylink was for years (still is?) the only machine simultaneously
 handling Acmade and Keycode transfer databases; now - further to 
 Jim Mann's request - it will automatically take care of 
 Acmade/Mag-Follower non stop transfers.

AatonCode (Aaton/Panavision/Moviecam) brings the many advantages that 
Acmade offers, but it eliminates the time consuming rubber 
printing, while it automatically syncs the sound.
Thus I am not surprised that a "prominent" N.Y. facility 
(see BT's mail below), more exposed to AatonCode transfers 
than to the good old rubber numbers, has never had to know of 
the Acmade process.

I would like to thank you for your Acmade tutorial 
(it's the best I ever read on the subject); it will help a good 
many TiG lurkers find out more about this system which has a lot 
to offer to edited-print transfer.


> Bill Topazzio 7/2/97 wrote:
> Maybe so, but this is rarely an occurrence in any commercial
> environment.  Even for dailies, by the time many of the spot
> houses started doing that kind of work, Keykode and Aatoncode
> had become the norms, although I can say I've run across some
> Acmade (maybe half-dozen times in past 10 years).
> -

thanks to Gary Shaw of Pacific Video Canada for support of the TIG in 1997
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