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Kodak
KeyKode
What
are KEYKODE Numbers?
EASTMAN
KEYKODE numbers are machine-readable bar codes on Eastman film stock
that exactly replicate the human-readable key number. They are
printed every half foot and include a reference dot that identifies
the frame to which each number applies.
KEYKODE
numbers, in concert with a "reader," a personal computer,
and database software, make it possible to save significant amounts
of time and money during postproduction.
How
KEYKODE Numbers Can Save You Time and Money
Logging
the Original Film
After
processing, the head and tail KEYKODE number of each negative roll is
logged with its associated roll number, creating a database for all
subsequent editing and negative matching. Using a reader of KEYKODE
numbers on the processor or the bench, KEYKODE numbers along the edge
of the film are logged quickly, automatically, and accurately, with
little possibility of human error. All in about 10 percent of the
time required for manual entry.
Required
equipment:
A
reader for KEYKODE number on the film processor or bench reader and a
personal computer with your choice of database software.
Telecine
Transfer
When
film is transferred for video editing, film rolls can be logged
automatically. KEYKODE numbers are read on the telecine and
correlated with video and audio timecode (if used) during the
transfer. This correlation, saved on floppy disk, enables you to
shoot on film, edit in video, and match back to the camera negative
for a high-quality release in any format. And it can save you days of
manual data entry and error tracking during editing and negative
cutting.
Required
equipment:
A
reader of KEYKODE number for the telecine, film footage
encoder/timecode generator, and a personal computer with the
appropriate software.
Off-line
Video Editing
Modern
nonlinear editing systems accept KEYKODE number/timecode data files
directly from a telecine if a standard database was created during
transfer. If not, the editing system may accept the video timecode
only. In such cases, you can work with your choice of several
stand-alone software programs designed to create a video edit
decision list (EDL) and produce a negative selection or cut list.
Stand-alone software programs for KEYKODE numbers and timecodes
provide many other useful capabilities not available with off-line
editing systems.
Required
equipment:
A PC
with appropriate stand-alone software (if the editing system does not
provide a KEYKODE number/timecode EDL correlation).
Film
Editing
KEYKODE
numbers are printed directly from the camera original to the
workprint. So, once your production is cut, you can log the workprint
with a bench reader in about 10 percent of the time it takes to do
the job manually. And there's virtually no possibility of human
error.
Required
Equipment:
A
bench reader for KEYKODE numbers and a personal computer with
appropriate software.
Negative
Cut and Video Conform Lists
Using
KEYKODE numbers and a database program, it's equally efficient to
produce a final assembly log from a video or film edit. These cut
lists tell the negative cutter where each scene is located, and in
what order, on the original rolls. They are automatically organized
for the least amount of negative handling. No matter what assembly
method your use, KEYKODE number cut points are available instantly.
The software even correlates the new timecode on a "select
rolls" transfer with the original video and audio time codes.
When you're ready to make a video master, the software provides a
disk for on-line auto conform in any of the standard formats.
The
Aaton Approach to TimeCode
Born
of Aaton's intrinsic desire to streamline and simplify the filmmaking
process, and honed over the years as technological advancements have
allowed, AatonCode has, at its very root, a few basic philosophical
and operational theories. Understanding these beliefs will give you a
good base for more easily grasping the finer technical points that
follow.
Real
Time Recording
The
philosophical foundation of Aaton's timecode system is the use of a
real time base. By choosing to record a true time and date on the
camera negative(s) and field audio during production, rather than
just a non-time related SMPTE timecode , we are ensuring that a
unique and non-repeatable address lives on the image and sound
originals forever. During the automatic syncing process, the non-repeatability
of the code guarantees that only one piece of audio will be
associated with a particular image. This real time stamp also becomes
essential for relating this code to image for many purposes beyond
syncing, such as documentary continuity and for archival & future
retrieval.
During
the Shoot
Timecode
is input into the camera by jam-syncing from any standard SMPTE
sound recorder, or more effectively, with the use of the OriginCplus
masterclock. OriginCplus both initializes and monitors code in all
timecode devices on set and ensures the systems accuracy and real
time base.
Once
initialized, each device on set counts time independently, yet in
sync with one another, with no cables or other ties between each
unit. The camera is freed from the audio recorder and clapstick, as
synchronization of sound is achieved not out in the field with the
clap of a slate, but later in post-production thanks to the common
real time address recorded in all devices. Complete freedom in the
field is one of the most compelling reasons why AatonCode is a great
asset to the filmmaker both creatively and financially. Refer to the
following section for a complete explanation of the benefits of
AatonCode.
Enter...Keylink
The
Keylink, Aaton's all-in-one film code reader, transfer database and
management system for the telecine, represents the bridge from film
to video. Keylink reads AatonCode and Keycode off the negative during
film/tape transfer and correlates the data from each film frame to a
field of video for a frame accurate description and path back to the
negative.
By
reading this real time address and simultaneously feeding its audio
timecode equivalent to an audio chasing machine, Keylink can perform
non-stop automatic syncing of your DAT or 1/4" field audio, in
suite, during the transfer. Keylink can even go one step better and
ingest Jaz drives or CD-Roms containing your digitized field audio to
perform true InstaSync transfers. The InstaSync feature allows for
on-the-fly audio syncing with audio locked to image within one frame
of the start of each take. In this case, the telecine can roll
continuously and no film or audio preroll is required.
Keylink
also functions as a multi window and Virtual Slate inserter, a
standard and 3-line VITC (vertical interval timecode) inserter in
both the analog and digital domains, as well as a comprehensive
information manager.
Keylink
can print event lists and deliver database files in a number of
formats for immediate ingestion by non-linear systems. Currently,
Keylink database files are available in AatonBase, standard Flex,
Keylog and AatonList (ATN).
3
Line VITC - Providing a Common Thread
As
non-linear editing systems rapidly become the industry editing
standard, the use of AatonCode along with Keylink's database provides
filmmakers with unlimited and easy access to their original film
footage for reuse. Thus, it is very important that any digitized
video image carries all the data which is necessary to locate,
retrieve and retransfer the original negative material.
That
is why companies such as Aaton, Avid , Lightworks
and Evertz are strong proponents of 3-line VITC, a format
in which 3x the amount of information is recorded in the same area as
traditional VITC.
Today,
non-linear systems from Lightworks and Avid are taking full
advantage of the speed and efficiency of the AatonCode / Keylink
process because of their capability of reading 3-Line VITC directly
from the transferred material.
The
Benefits of AatonCode
Now
that we've discussed AatonCode in a conceptual form, let's examine
the importance of the system in a real world environment. Here's an
explanation of the advantages, from general to specific, of shooting
with in-camera timecode:
Time
Savings
In
feature film shooting, AatonCode allows for greater speed on set,
maximizing takes while minimizing time between them.
In a
documentary environment, slateless shooting decreases set-up time,
while adding to content value and flexibility.
AatonCode
provides automatic, on-the-fly audio sync during transfer or removes
the sync process from the telecine room entirely. This procedure
moves the production out of the transfer room as soon as possible.
In
post-production, the use of AatonCode and the information in
Keylink's database reduces event-logging time for the editor's
assistant.
Cost
Savings
On
the set and during transfer and post, time is indeed money. Almost
all of the time-savings examples mentioned above translate into a
dollar amount savings down the line.
During
a feature, commercial or documentary production, eliminating the
need for the slate for sync purposes saves on raw stock and
processing.
During
interviews, AatonCode allows the DP and/or Director to turn the
camera on and off at their discretion in order to save film, while
rolling audio continuously for full coverage.
Because
of the added efficiency during telecine, transfer costs can be reduced. |
