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Kalle Folke

AatonCode telecine available?

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I'm getting more serious about shooting a documentary on s16mm film. Since I often work alone on personal projects I was exited to learn about AatonCode.

I'm about to get a Aaton A-minima. I tested it last week with my timecode synced audio recorder, only to later discover that my local lab don't have a Aaton code reader on their new scanner. I really wan't to use that lab, because one of my motivations to shoot film is to contribute (in a very small, but at least symbolical way) to keeping film alive.

I wanted to ask anyway if there are some labs in Europe that offers Aaton code service? Maybe I could use it for some rolls if really needed...


Any other recommendations on how to handle audio sync when alone would also be appreciated. I've had some ideas…

- To have a mic attached to the mag, recorded on a separate track. Then I could listen to the audio (or watch the waveform) to see "ok, that's the third time the mag is running… must be shot three…". Then sync by eye.

- Start each shot by filming the lcd on my audio recorder that can display timecode and also flash a led at each second. Only downside is I'd need to start with close focus and also be delayed when trying to frame the subject to be ready for the "moment" I want to capture.

- Almost like above, but instead reach with my left hand info the frame with my timecode generator that also has a lcd displaying the timecode.

What do you think?


Thank you!


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You could get a bloop slate and run it into the XLR input on your audio recorder, then have your sound person hold it up before each take. The easiest way is to just tap the mic on-screen and then sync to that. There's also a slate iphone app which works great for this.

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Kenny: Thank you for the info, didn't know about bloop slate. Would be quite easy to just hold in front of the camera and have the beep sent to the audio recorder with a wireless system. Found an app, but only for iPhone unfortunately… will look more into this.


Dirk: Great, I will definitely try it out. I'd like to learn more about how the workflow works with Aatoncode. Say I have one roll in the A-minima- do I need to have synced timecode on all takes on that roll? Will the timecode be embedded in the Prores file?


Do I need to take any special considerations to not complicate the post work later? Like if I shoot 20x 122m rolls and after editing want to do a EDL 2k scan for final grading?


My audio recorder (http://www.marenius.se/audiodesign/mm-4240.htm) and TC-generator (http://www.marenius.se/audiodesign/ltcgen.htm) has LTC timecode. I have managed to feed TC from the generator to the A-minima.


Thank you!

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You will have two timecodes for working, the continuous editing timecode from start to finish of the reel (01:00:00:00 equals Reel 1 etc) and the Aatoncode that will be the reference for audio sync. If working with a Minima, the Minima can be the masterclock and jamsync to the portable timecode generator; If you can lay your hands on an Aaton OriginC+ masterclock, this would be better because it has a temperature compensated crystal oscillator same as the camera. This will allow you to jamsync only once per 6 hours. Obviously the Cantar-X audio recorder from Aaton has the same clock built-in.


Avid can handle Aatoncode quite easily, I would have to check for Premiere and Final Cut.


We were one of the pioneers with Aatoncode (3rd installation in the world), my own Minima is now starting a feature film (cinema vérité style).


Contact us for much more details regarding postproduction from negative processing to DCP, 35mm filmout or HD files.

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Thank you Dirk!

Very informative and helpful. My TC-generator has a crystal oscillator and should be accurate for 8hours. I'll mostly be fine with much less then that, and also I won't be shooting huge amounts of footage so if it's slightly out of sync sometimes I'll have no problem adjusting manually (if necessary). I think I won't be able to afford more then maximum 2440meters for a project, so it'll not be a massive post production.

What I've done when shooting digitally is to start each scene with a shot of the audio recorders lcd to be able to notice any sync offset.

Would I need a OriginC+ to be able to include scene/take/reel numbers in the AatonCode?


I think I'll sync audio in DaVinci Resolve, and then edit in Premiere CC. I'm not familiar with ATN, FLX or ALE file, how does that work? So I'm not overriding/replacing the continuous TC right?

Resolve have worked great for me when syncing audio based on TC for Ikonoskop A-cam DII footage, but if I can do it in Premiere that would maybe be even better.



Really great to know that you offer this service, I'll make sure my calculated 3000meters/year keep the whole industry going :)

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