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Aatoncode-II and 1080p/24Hz

CB Gaines Monaco Video, San Francisco 
cbgaines at inreach.com 2/11/99 5:08 :

>  If we have a client using the new camera (AatonCode-II),
>  will we still be able to transfer and sync albeit with lesser 
>  efficiency using our version 6.4 software, or, as I read it, 
>  will we be incapable of decoding the AatonCode?

Hello CB,

At a time when the film industry as a whole (and telecine 
facilities and you, colorists) will have to face the formidable 
threat of the coming 1080p 24Hz video origination, our duty
--as a film camera manufacturer--  is to improve film origination
performances wherever our know-how can bring something to the 
film post-prod chain:
-  one is sound syncing efficiency through real time recording 
  (AatonCode-II, InDaw, etc.)
-  the other is electronic registration (only optical fiducial 
   marks recorded by the camera itself can bring to film an 
   HD-video steadiness).

No, AatonCode-II is not readable 'with lesser efficiency'
by former Keylink softwares.  This would not be the right way to 
defend film origination in the coming film/HDV war.

Fifteen years of Aatoncode-I (1984-1999) gave us time to learn
the in-camera time recording shortcomings.  AatonCode-II corrects 
them, improves sync accuracy and operates at all camera speeds, 
one advantage of film over video.
Be reassured: we asked the Keylink designers --while they were 
at inventing new tricks to read Aatoncode-II--, to also make 
version 6.7 better at reading older cameras' Aatoncode-I.

We don't want to saw off the branch on which we all --film workers-- 
are seated.



Thanks to Bill Hogan of Sprocket Digital for support in 1999.
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