Aaton 35 Iii Users Guide USER US 23/1 2

Aaton 35mm Camera Aaton 35mm Camera

35-III - User’s Guide 35_III_en Free User Guide for Aaton Camcorder, Manual

2015-07-27

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User’s Guide

June 97

35-III

USER 35 US 23/1 -2 1/20/98 19:46 Page 1

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INTRODUCTION

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The AATON 35-III User Guide

AATON

2 rue de la Paix

BP3002

38000 Grenoble

FRANCE

+33 4 7642 9550

+33 4 7651 3491 fax

E-mail: support@aaton.com

Web: http://www.aaton.com

Limitation of Liability

The information contained in this manual is distributed without warranty of any kind, express or implied. To the maxi-

mum extent permitted by law, Aaton and its licensors disclaim any and all warranties, express or implied, by statute or

otherwise, regarding this manual, including the fitness for a particular purpose, quality, or merchantability. Under no cir-

cumstances shall Aaton or its licensors be liable to the user of this manual or any other person for any incidental, special,

or consequential damages resulting from the use of this manual or the operation of the equipment described therein,

whether arising out of breach of warranty, breach of contract, or otherwise. Under no circumstances shall Aaton or its

licensors be liable for any damages arising out of the operation of the equipment described in this manual, whether ope-

rated in a manner which is consistent with or contrary to the instructions contained therein, for physical abuse or misuse

of the equipment. No oral or written information or advice given by Aaton or its licensors, their respective employees,

distributors, dealers, or agents, shall create any warranty. Aaton and its licensors further disclaim any and all warranties,

express or implied, by statute or otherwise, regarding this manual, including the fitness for a particular purpose, quality,

or merchantability, regarding the equipment described in this manual, and in no event shall Aaton or its licensors be

liable for any damages, including but not limited to incidental, special, or consequential damages, arising out of the use

of the equipment, or any exposure of motion picture film used in the equipment.

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1 GENERAL OVERVIEW

Front View 12

Rear View 13

Battery Side 14

Motor Side 15

LCD Control Panel - Quick Reference 16

2 THE CAMERA BODY

2.1 Lenses 20

Arri PL Lens Port 20

Installing the Lens 20

2.2 Viewing System 20

Viewfinder Options 20

Installing the Extension Finder 21

Viewfinder Tension Adjustments 22

Adjusting the Diopter 22

The Eyepiece Shutter 23

Adjusting the Viewing Horizon 23

Viewing Screen 23

Changing the Viewing Screen 24

Adjusting the Viewing Screen 25

2.3 Mirror Shutter 25

Concept 25

Adjusting the Shutter 26

2.4 Film Gate and Pulldown Claw 27

Adjusting the Pitch 27

The Side Pressure Bar 28

2.5 Flange Focal Distance Adjustment 28

Concept 28

Polishing a Spacer 28

Changing a Spacer 29

Adjusting the Viewing Screen 29

Flange Focal Distances 29

TABLE OF CONTENT

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2.6 Magazine 30

Installing the Magazine 30

Removing the Magazine 31

2.7 Power 31

Installing the Battery on the Camera 31

Battery Charging 32

Other Power Options 32

2.8 Motor 33

Camera Speeds 33

Using External Speed Devices 34

Electronic Inching 34

Single Frame Operation 35

2.9 LCD Control Panel and Jog 34

The Aaton Jog 35

Understanding the Control Panel 35

AatonCode 36

ASA Setting 36

Battery Voltage 37

Magazine Number 37

Camera Preset Speed 37

Camera Specific Speed 37

Speed Phasing 38

Remaining Footage 38

Elapsed Footage 38

Camera Software Version Number 38

Footage Total Recall 39

Warning 39

2.10 LED Indicators 39

Position and Meaning of the Diodes 39

Camera Test Indicator 39

Camera Run Indicator 39

Low Battery Indicator 40

Low Speed Indicator 40

2.11 Video Assist 40

The CD56 Color CCD Assist 41

Installing the Control Unit 41

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Menu Operations 42

3 THE MAGAZINE

Concept 48

Pressure Plate System 48

The Gate Plate 48

The Picture Plate 48

Loading 49

First Step, in Daylight 49

Loading, in the Dark 50

Adjusting the Loop 51

4 THE AATON SYSTEM

Camera Configurations 56

15mm Front Rods 56

Sliding Bridgeplate 56

Handgrip 57

Mounting the Handgrip 57

Handgrip On/Off Functions 57

Handgrip Adjustment 58

Tripod Use 58

Shoulder Operation 58

Carrying Handle 59

3/8 Accessory Screw 59

Mounting from the Carrying Handle 59

Tape Measure Hook 59

Transport 60

Extreme Conditions 60

Cold Weather 61

Warm Weather 61

TABLE OF CONTENT

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5 CLEANING

5.1 Lens 64

Lens Elements 64

Lens Exterior 64

Mounting Surface 64

5.2 Body 64

Exterior 64

Mounting Surfaces 65

Camera Gate 65

5.3 Viewing System 65

Viewing Screen 66

Eyepiece 66

Viewfinder 66

5.4 Magazine 66

Exterior 66

Pressure Plates 66

Interior / Film Path 67

6 SUPER35

6.1 Super35 70

The Format 70

When to Shoot Super35 70

6.2 Super35 Field Conversions 71

Changing the Viewing Screen 71

Shifting the Viewfinder 71

Shifting the PL Lens Port 71

Shifting the Video Assist 72

7 3-PERF FORMAT

7.1 Concept 76

7.2 The AATON 35-III 3-Perf Camera Body 76

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8 AATONCODE

8.1 Concept 80

8.2 The Internal Clock 80

8.3 OriginCplus MasterClock 81

8.4 Initializing AatonCode in the Camera 81

Using the OriginCplus - Recommended Method 82

Using an External SMPTE Device 82

8.5 Monitoring and Maintaining AatonCode 83

Monitoring AatonCode with OriginCplus 83

Maintaining AatonCode without OriginCplus 83

8.6 GMT1 Smpte Generator 84

8.7 The Camera’s Assistant Duties 84

Checking the Diodes 84

Setting the ASA 85

9 TECHNICAL SPECIFICATIONS

List of Specifications 88

Connector - Pin Attributions 89

Viewing Screens 90

TABLE OF CONTENT

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GENERAL OVERVIEW

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1.1 FRONT

1 Eyepiece

2 Friction Adjusting Ring adjusts the tension of the eyepiece swivel

3 Diopter Set Ring adjusts the diopter setting of the viewfinder to the operator’s eye

4 Lateral Lock Knob locks the lateral position of the viewfinder

5 PL Lens Port

6 CCD Control Unit

7 CCD Friction Ring

8 Lens Locking Ring

9 Wooden Handgrip

10 15mm Front Rods

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1.2 REAR

11 Pitch and Mirror Shutter Adjusting Tools

12 CCD Led - On/Off indicator

13 Magnetic wheel for the magazine’s sprockets

14 XLR4 Connector allows for the battery connection

15 Aperture Opening

16 Battery Locking Screw

17 Magnetic Wheel for the magazine’s take-up core

18 LCD Control Panel displays AatonCode, ASA, speed, voltage, or remaining footage

19 Jog Wheel provides quick adjustment of ASA, speed, and phasing

20 Lemo5 Connector for AatonCode and SMPTE communication

GENERAL OVERVIEW

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1.3 BATTERY SIDE

21 Carrying Handle

22 Base of the carrying handle and viewing system block

23 Guiding Pin for the magazine

24 Amph9 Connector connects the CCD unit to the camera body

25 Cap covering the viewing screen holder

26 Magazine Connector

27 Coupler allows for the handgrip attachment

28 Guiding Grooves for the Magazine

29 LED Indicators

30 Run/Test Switch provides camera Run and half frame inching

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1.4 MOTORS SIDE

31 Eyepiece Shutter blocks light when operator’s eye is away from the viewfinder

32 Lemo6 Connector

33 Lemo8 Connector

34 Led Indicators

35 Handgrip Run/Test Switch provides camera run and full frame inching

36 Lemo2 Connector

37 Magazine’s Take-up Core Motor

38 Handgrip T-Screw

39 Mag Release Lever

40 Magazine’s Sprockets and Camera Pulldown Claw Motor

GENERAL OVERVIEW

33 34

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IN SHOW MODE

24’ - 080 Camera speed and Remaining footage (default mode)

ISO = 100 Film ASA (1 x Batt/Iso)

Batt = 10’4 Battery voltage (2 x Batt/Iso)

MAG =0071 Magazine number (3 x Batt/Iso)

Sp = 27’454 Camera Speed (1 x Speed)

Ela = 042 Elapsed footage during last take (2 x Speed)

22=32=54 Hours=minutes=seconds in AatonCode (1 x Time)

95-03-25 Year-Month-Day in AatonCode (2 x Time)

123456 Production ID in AatonCode (3 x Time)

2321 Equipment number in AatonCode (4 x Time)

IN SET MODE

Sp =2 4’ Adjusting a preset speed (SET, 1 x SYNC, toggle SYNC or use Jog)

Sp = 27’454 Adjusting a specific speed (SET, 1 x VAR, use Jog)

Et Speed controled by external speed device (SET, 2 x VAR)

Phase Phase Adjusting (Camera running,SET, 2 x VAR, use Jog)

ISO = 100 ASA Setting (SET, 1 x ISO, toggle ISO or use Jog)

WARNINGS

Lo Spd Camera has not yet reached the selected speed

Lo Batt Battery is too low (below 10V)

Loop Film loop is too small

Scratch Something is wrong in the magazine

Empty No more film in the magazine

Unadjust Please check page 39

1.5 LCD CONTROL PANEL - QUICK REFERENCE

Test

Run

Time speed

ISO / Batt

VAR

SYNC

ISO

SET

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GENERAL OVERVIEW

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THE CAMERA BODY

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2.1 LENSES

The AATON 35-III’s flexible lens mounting system allows for the use of

a wide variety of 35mm lenses.

2.1.1 ArriPL Lens Port

The ArriPL lens port is the standard mounting system delivered

with the AATON 35-III and allows the use of all 35mm ArriPL

mounted motion picture lenses. PL lenses adaptors are available for

Arri standard and Arri bayonet mounted lenses. This lens port is

ideal for rental facilities, where a mounting system compatible with

other manufacturer’s 35mm cameras is often desired.

If you need to get a Panavision or Nikon mount, please contact a

certified Aaton technician.

2.1.2 Installing the Lens

To install the lens on the camera body, turn the outer locking ring

counter-clockwise. If the port cap is on, remove it. Align the four

protruding flanges on the lens with the four corresponding cutaways

in the locking ring and insert the lens into the camera port so that

its flanges rest evenly against the lens seat. Tighten the locking ring

by turning clockwise until the lens is secured in place and the loc-

king ring is firmly set. Make sure the locking ring is tight enough so

that it cannot be inadvertantly unlocked.

VIEWING SYSTEM

2.2.1 Viewfinder Options

The viewfinder is designed to be fully orientable, providing left or

right side viewing and upright image in any position. The viewfin-

der comes equipped with a standard short eyepiece that can be used

for handheld and tripod-mounted operation. For more comfortable

tripod and studio applications, the standard extension finder(200

mm) can be fitted in place of the short eyepiece. With an Elemak or

Flange focal distance.

Refers to the critical distance

from the lens seat to the film

plane. With the PL port, the

precise FFD of the AATON

35-III is 52mm -40 to -50

microns as measured with a

depth gauge in the lens port.

With the PV port, the FFD is

57.15mm -60 to -70 microns

It is recommended that these

tolerances be checked and

maintained by a qualified tech-

nician. The combination of

FFD and back focus distance

of a lens directly affects precise

focus and overall image sharp-

ness. Make sure these critical

measurements are strictly

upheld. When using an unfa-

miliar lens for the first time,

check that the eye focus

matches the tape-measured

focus marks on the lens, and/or

shoot a focus test.

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Mitchell type dolly, or in situations requiring additional reach, the

hyperlong (400 mm) finder, which is twice as long as the standard

extension finder, can be used.

The Aaton hyperlong finder integrates as a standard feature a hea-

ting system designed to fight mist. A heating system kit is also avai-

lable for the standard eyepiece.

2.2.2 Attaching the Extension Finder

In order to use an extension finder on the AATON35-III, the stan-

dard eyepiece must first be removed To remove the eyepiece, locate

the eyepiece lock ring, marked ain the image below. Rotate counter-

clockwise until the ring reaches its stop and gently pull off the eye-

piece. To install the extension finder, locate the protruding guide

The Pechan Prism

In order to provide a fully

orientable upright image, the

Aaton viewfinder incorporates

a Pechan prism assembly, whi-

ch is actually comprised of two

triangular prisms sandwiched

together. On some viewfinders,

depending of the construction

of this prism, rotation of the

eyepiece a full 360°will cause

the image in the finder to shift

slightly left or right.

After attaching an extension

finder, if the image in the fin-

der appears to have shifted

slightly, rotate the finder 360°

and choose the preferred cente-

red image.

THE CAMERA BODY

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pin on the seat of the viewfinder and align the pin with the hole in

the flange of the finder. Make the flange to the seat of the viewfin-

der and tighten the lock ring until it is set firmly in place. During

this procedure, you will notice that the extension finder needs to

face 180° away from the operator’s eye to be installed on the view-

finder. Because of its optical construction, this is completely normal.

After installation, rotate the finder 180° to regular viewing position.

2.2.3 Viewfinder Tension Adjustments

The large knurled knob at the base of the left/right lateral move-

ment point (B) locks the lateral positioning.

The friction adjusting ring, located behind the eyepiece lock ring,

can be used to adjust the tension of the eyepiece swivel, depending

on the operator’s preference and the viewfinder being used.

When using the standard eyepiece, tension should be relatively light

to allow for movement with a moderate amount of pressure.

When using a standard extension finder, tension should be increased

to hold the additional weight of this finder in place.

To adjust the tension of the swivel, loosen the steel knurled screw

ce, rotate the adjusting ring slightly and retighten the screw; 1/8 of a

turn, at first, will have an effect. To increase the tension of the eye-

piece swivel, rotate the adjusting ring clockwise; to decrease the ten-

sion, rotate the adjusting ring counter-clockwise.

2.2.4 Adjusting the Diopter

Before shooting, the diopter setting of the viewfinder should be

adjusted to the operator’s eye. To set the diopter, locate the diopter

set ring (D) in front of the carrying handle at the top of the viewfin-

der, and loosen the small knurled knob. Look through the viewfin-

der, rotate the diopter set ring until the edge of the cross-hair is at

its sharpest point and retighten the knob. It is recommended that,

for easiest setting, this adjustment be performed with the port cover

off and no lens on the camera.

Notice that the diopter set ring is engraved with numbers and dots

USER 35 US 23/1 -2 1/20/98 19:46 Page 22

-use this reference to quickly recall your particular setting when

more than one person will be looking through the viewfinder.

If a corrective lens is required, one can be fitted in the recessed area

of the eyecup ring of both the standard eyepiece and the extension

finder.

2.2.5 The Eyepiece Shutter

In order to avoid light seepage through the viewfinder, the eyepiece

shutter must be closed any time the camera is running film and the

operator’s eye is away from the viewfinder.

Locate the black wheel under the base of the carrying handle. To

close the eyepiece shutter, turn this wheel counter-clockwise. To

open it, turn the wheel clockwise.

2.2.6 Adjusting the Viewing Horizon

If the rotation of the image seen through the camera’s viewfinder

does not exactly match what is seen through the naked eye, there is

a fine adjustment that can be made to the image’s relative horizon.

Locate the small slotted screw located on the underside of the view-

finder inside the eyepiece lock ring. Notice that the screw travels in

an elongated cutout. Loosen the screw one turn and, while looking

through the viewfinder, move the screw within its cutout in order to

adjust the horizontal rotation. When the images seen through your

left and right eyes coincide, lock the screw.

2.2.7 Viewing Screen

The AATON 35-III utilizes an interchangeable viewing screen (or

“ground-glass”) system which allows the cinematographer to install

the screen which best suits his particular application. Aaton offers

12 viewing screens as standard (see section Viewing Screens in the

Technical Specifications chapter).

Custom screens can also be manufactured upon request. Contact

your local Aaton representative for details.

2.2.8 Changing the Viewing Screen

Checking your viewing

horizon

there is a simple means of

determining whether adjust-

ment of the horizon needs to

be made. Mount a zoom lens

onto the camera and rest the

camera on your shoulder in a

standard handheld position.

Look through the viewfinder

with your right eye while also

keeping your left eye open.

Compose a frame that includes

vertical or horizontal

lines (a window frame for

example) and adjust the zoom

on the lens so that the focal

length of the lens generally

matches what you see with

your left eye.

Ignore the viewing screen mar-

kings for the time being and

determine whether the rotation

of the image you see through

the viewfinder matches what

you see with your left eye. If it

does not, then a find adjust-

ment may be necessary.

THE CAMERA BODY

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The viewing screen is designed to be easily removed by the user for

the purpose of interchanging or for cleaning. To remove the screen,

first remove the port cap. Remove the battery and clear the mirror

shutter so that it is positioned safely inside the body by rotating at

the base of the shutter with your finger. Look into the port and

locate the screen directly above the aperture opening. To operate,

use a piece of Post-it, that will take the viewing screen without dir-

tying it. Put the Post-it on your forefinger, the sticking part of it

facing up. Smoothly put your finger on the viewing screen, and

remove it.

To reinstall the screen, look into the port and locate the right and

left lip of the viewing screen holder. The grounded side of the vie-

wing screen should face down. Proceed as before, with a piece of

Post-it on your finger.

2.2.9. Adjusting the viewing screen :

The image focus on the viewing screen (or “ground-glass”) should

match the lens barrel focus mark and the focus on the film. Before

adjusting the viewing screen, be certain that the flange focal distance

screen

post-it

USER 35 US 23/1 -2 1/20/98 19:46 Page 24

of the camera is set according to the manufacturer specifications. 52

mm ,57.15 mm and that the lens used is correctly adjusted ; this

can be determined by the use of a collimator. It is preferable to use a

“wide angle lens” i.e. : less than 25 mm. To proceed, you must first

unscrew and remove the circular Cap located on the upper side of

the rectangle plate, above the battery locking screw. Inside the access

hole, locate the screen holder that you can unlock by turning its

Allen screw counterclockwise. Set your focusing chart at a measured

distance. Set the focus mark of the lens at the exact same distance (

Adjust the diopter ! ) you can, now, focus the

ground-glass, moving the holder up or down by turning the Aaton

two pins tool. Lock the Allen screw. Double check the focus of the

viewing screen using the focus ring of the lens. If the image is still

not sharp, proceed again.

2.3 MIRROR SHUTTER

2.3.1 Concept

The reflex mirror shutter is designed to provide an optical path to

the viewfinder while the claw movement advances the film to the

next frame.

The shutter features a four-position user-adjustable opening.

• Standard180° for filming

under standard 60 Hz HMI lighting at 24 fps

or under standard 50 Hz HMI lighting at 25 fps

without flicker.

• 172.8° for filming

under 50 Hz HMI lighting at 24 fps

without flicker.

• 150° for filming

under 60 Hz HMI lighting at 25 fps

Always Remove the

Battery

Each time you need to go insi-

de the camera body, you must

first remove the battery. If, by

mistake, the camera starts run-

ning while you finger is rota-

ting the mirror shutter, the

mechanism of the camera body

could be seriously damaged.

THE CAMERA BODY

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without flicker.

• 144°

to minimize the roll bar while filming

NTSC broadcast monitor at 24 fps.

2.3.2 Adjusting the shutter

To adjust the shutter opening, unscrew the shutter tool marked

“Sh” located in the hollow at the rear of the camera’s carrying hand-

le. Make sure that the battery is off the camera and remove the port

cap. Locate the tool guiding hole to the lower right of the inside lens

holder. Gently rotate the shutter at its base with your finger until

the brass driving gear is centered underneath the tool guiding hole.

Insert the shutter tool through the guiding hole and into the brass

gear. Rotate the tool until the appropriate notched shutter setting is

reached ; turning counter-clockwise will reduce the shutter opening,

turning clockwise will increase the opening.

When setting the opening to 172.8°, 150° or 144°, a shutter blade

indicating these settings will be visible from behind the left edge of

the mirror. Make sure the white line to the immediate right of the

172.8°, 150° and 144° markings meet the left edge of the mirror.

tool guiding hole

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When the adjustment is complete, remove the tool and store back in

the hollow of the carrying handle.

2.4 FILM GATE AND PULLDOWN CLAW

2.4.1 Adjusting the Pitch

To adjust the pitch, use the tool (Ref 09.203.65) located at the rear

of the camera carrying handle.

Looking at the camera with the lens port facing you, locate the

small opening situated between the two camera front rods, closer to

the left rod. Using the tool, you can undo the Allen screw retaining

the opening cover. Insert the tool inside the opening. You will "feel"

a screw that you will turn counter-clockwise until it stops. The leng-

th of the pulldown is now at its maximum.

Put the loaded magazine on the camera, and keeping the tool in

position, inch and run the camera. The camera will run with a "clic-

king noise", due to the perf being hit by the claw. Turn the tool

clockwise until you reach a more pleasant noise, like a loud "pur-

ring". If you go too far, you will hear one "clack" noise indicating

that the claw lost a perforation. If more than one "clack" is heard,

the camera display will show "LOOP".

Once you reach the proper setting, it is recommended to turn the

tool counterclockwise, approximately 20º, to accomodate any varia-

tion of the film pitch that occures between different film stocks or

under humid or hotweather conditions. To do this adjustment, use

the film stock you are most likely to use.

2.4.2 The Side Pressure Bar

The film gate also features a side pressure bar which is recessed into

the claw-side rail at the point of image exposure to insure maximum

lateral stability.

2.5 FLANGE FOCAL DISTANCE

ADJUSTMENT

THE CAMERA BODY

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2.5.1 Concept

For a few years now, Aaton has inserted a spacer between the lens

port and the camera body. This thin (0.3mm) metallic ring is res-

ponsible for the precise distance between the lens port seat and the

film plane called the flange focal distance (FFD), and therefore it is

also mainly responsible for the sharpness of the images.

In order to change the FFD of the AATON 35-III, simply change

the spacer, and only the spacer. Do not polish any other surface, or

insert anything else between the lens port and the film plane. For

fine adjustment of the FFD, order some aluminium spacers

(0.35mm) from your Aaton agent, and then safely change the FFD

of your camera.

2.5.2 Polishing a Spacer

In order to fine-adjust the thickness of a specific spacer, Aaton car-

ries a specific tool (ref 35 310 32) designed to hold the spacer firmly

and evenly against polishing paper. When polishing a spacer, always

work on a perfectly flat worktable or stone, and be sure to firmly

hold the tool.

2.5.3 Changing the Spacer

The spacer is placed between the PL lens port and the camera body’s

titanium base. First, remove the lens locking ring: screw two or three

turns its stop (placed on the bottom, inside the PL port), and turn

the ring counterclockwise. Remove the PL port by unscrewing its 6

screws. Then gently remove the aluminium spacer .

Once you have placed a new spacer, install the PL port, then the

lenses locking ring, and do not forget to unsrew two or three turns

the locking ring stop.

2.5.4 Adjusting the Viewing Screen

Because you have changed the distance separating the base of the

lens and the camera body, the image on your viewing screen might

now appear to be less sharp than usual. Most likely, you may need

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to readjust the precise focus of the viewing screen. Refer to the 2.9

section of this chapter to proceed.

2.5.5 Flange Focal Distances

Here are the flange focal distances for all the lens ports available for

the AATON 35-III. Remember that these distances are automatical-

ly shorter by 0.3mm than the indicated ones (because of the needed

spacer)

2.6 MAGAZINE

The Aaton magazine holds 400ft (122m) of 35mm film, which repre-

sents 4’28’’ shooting at 24fps in 35mm 4-Perf, and 5’26’’ shooting at

24fps in 35mm 3-Perf.

2.6.1 Installing the Magazine

To install the mag, situate yourself at the rear of the camera body,

battery side. Do not forget to remove the aperture plate cover.

Place your left hand underneath the magazine while your right hand

is firmly holding it at the midway point of its rear. Rest the nose of

the magazine on the camera base, hold the camera body with your

left hand while pushing the mag in the bottom dovetail and into the

aperture area with your right hand. Make sure that the top of the

"nose" of the mag is parallel to the camera carrying handle as you

guide the mag in place. Push firmly and evenly until you feel and

hear that the mag snaps against the aperture area. The mag nose

should be pressed against the camera body's rubber seal. This opera-

tion should be done without having to force the mag into position.

THE CAMERA BODY

Mount Référence FFD Diameter Adjustment

Arriflex (PL) 35 340 30 52.00 mm 54.00 mm -40 / -50 microns

Panavision (PV) 35 330 30 57.15 mm 49.50 mm -60 / -70 microns

Nikon (Ni) 35 360 10 46.44 mm 43.53 mm -40 / -50 microns

USER 35 US 23/1 -2 1/20/98 19:46 Page 29

2.6.2 Removing the Magazine

To remove the magazine, situate yourself at the rear of the camera

body, battery side. Place your right hand palm on the camera take-

up motor and pull the mag lock lever towards the rear of the camera

with your fingers.

The mag will be toward the rear of the camera. The mag is now free

to be pulled offthe camera, using both your hands.

2.7 POWER

The AATON 35-III body requires only 12 volts for all aspects of opera-

tion. One standard Aaton on-board (12V, 1.8 Ah, rechargeable, nicad)

will power the camera, CCD and accessories which are connected to the

body’s accessory inputs (such as zoom controls, speed controls, etc.)

through a standard 4 pin XLR connector. One 1.8 ah on-board battery

will run 7-8 magazines on the AATON 35-III, without CCD and

accessories. With accessories in use, this number will decrease.

2.7.1 Installing the Battery on the Camera

The on-board battery fits above the LCD conrol panel. In order to

install, loosen the black knurled screw approximately four or five

turns. Push the battery evenly onto the XLR4 connection of the

USER 35 US 23/1 -2 1/20/98 19:46 Page 30

body. When snug, tighten the knurled screw onto the battery tab to

hold it in place.

When running AatonCode, get into the practice of having a fresh

battery on hand before removing the one from the camera. Even a

low battery that no longer runs the body (below 10V) will have

enough voltage to keep accurate time counting.

Thanks to a super capacitor built into the camera base you will have

a full minute to change the battery before time is lost. After repla-

cing the battery, confirm that time is still counting by checking the

control panel.

2.7.2 Battery Charging

The Aaton on-board can be recharged with an appropriate 12V

nicad battery charger.

For the best results, use a microprocessor-controlled charger or a

standard trickle charger with a charging output of at least 200ma,

both of which prevent of the overheating and mistreatment of your

nicad cells. Always follow the specific guidelines of the charger

manufacturer. You can use the Aaton Chr1, designed to charge two

standard batteries in 6 hours, without any risk.

Beware of older, timed chargers manufactured when 1.2 and 1.4ah

THE CAMERA BODY

USER 35 US 23/1 -2 1/20/98 19:46 Page 31

batteries where the norm; these chargers where most likely rated for

the lower amperage batteries of that time and will consistently

undercharge the higher rated nicad cells of today.

2.7.3 Other Power Options

Since the AATON 35-III power input is a standard 4 pin XLR type,

a great varitey of 12-14 volt sources can be used to power the came-

ra. This includes AC power supplies, battery blocks, lithium cells

and car batteries.

Get into the habit of carrying a standard XLR4 powercable in your

package in case an alternative power source is needed.

Regarding AC power supplies, it is recommended that the unit you

use be at least 5 A and 25 W. Before connecting any non-standard

source, always make sure that the pin configuration of the unit is

correct. See the Technical Specifications chapter of this manual for

details for proper wiring.

2.8 MOTOR

The tri-phase samarium design of the AATON 35-III provides low

power consumption and improved stability at high speeds. The

body is capable of speeds between 3 and 40 fps with a standard

12V battery.

2.8.1 Camera Speeds

The AATON 35-III provides boths preset crystal speeds (in sync

mode) and specific crystal speeds (in variable mode) in .001 incre-

ments, all accessible from the LCD control panel.

Available preset speeds consist of 6, 12, 18, 23.98, 24, 25, 29.97

and 30. The preset speed selector (SYNC) allows for quick access to

these frequently used speeds.

If any other speed is desired, or if the camera speed must match the

frequency of a monitor to eliminate a roll bar, the specific speed

selector (VAR) should be employed. The specific speed selector

Nicad Battery Tips

Follow a few simple rules to

insure the long life of your

nicad cells:

• Allow the battery to run

through their normal cycle of

charging and use. Avoid top-

ping off partially full batteries.

Once every few months,

discharge cells to 8-10V using

a standard discharger to mini-

mize their memory.

• Do not rapid-charge your

cells more than necessary, as

the added heat will eventually

shorten their life span. Instead

recharge batteries at a normal

charging rate when your sche-

dule allows.

• If your batteries will not be

used for long periods of time,

always store them in a cool dry

environment fully charged.

USER 35 US 23/1 -2 1/20/98 19:46 Page 32

enables the body to run at any speed between 3 and 40 in .001 fra-

me increments. A phase adjustment of the variable speed is acces-

sible from the VAR selector and jog wheel.

The camera speed can also be adjusted while the camera is running

in either sync or variable mode. For more information on these

speed functions, refer to section LCD Control Panel and Jog of this

chapter.

2.8.2 Using External Speed Devices

The AATON 35-III can be driven externally from devices such as

film/video synchronizers, speed aperture computers and external

speed controls. In these situations, the camera VAR selector must be

set to Et. If such a device is connected and the selector is not set to

Et, the camera will run at the speed indicated on the display.

Keep in mind that, with certain manufacturer’s speed controls, it

may be possible to run the camera at speeds higher than the 40 fps

factory limitation. Overcranking in such a way, however, will increa-

se mechanism wear, increase noise and compromise image registra-

tion. Aaton urges to avoid such usage at all cost and will not be res-

ponsible for the resulting damage that will occur. This top speed cap

of 40 fps has been designated by Aaton because it is the limit at

which the camera can run safely without any adverse effects on its

mechanics.

2.8.3 Electronic Inching

The inching function of the motor is accomplished electronically

and can be accessed in a number of ways.

From the Handgrip

The wooden handgrip switch, by way of the lemo2 connector, pro-

vides camera run and full frame inching for single frame operation

and loop situating.

From the LCD Control Panel

The run/test switch, besides the LCD control panel, not only runs

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USER 35 US 23/1 -2 1/20/98 19:46 Page 33

the camera, but provides half frame inching for gate inspection and

loop situating when installing a fresh mag.

From a Remote Cable

The Lemo2 connector, as well as Lemo6, Lemo8 and Amph9 acces-

sory connectors, provide the capability of using a remote on/off with

either a half-frame or full-frame inching function.

2.8.4 Single Frame Operation

With the use of electronic inching switch via the wooden handgrip

or a remote cable, the AATON 35-III can be used as a simple inter-

valometer for single frame operation. Each frame is 1/4 sec exposu-

re.

2.9 LCD CONTROL PANEL AND JOG

The AATON 35-III utilizes a straightforward and intuitive control

panel structure in conjunction with a small jog wheel to access and

adjust all operator functions.

2.9.1 The Aaton Jog

Located to the immediate right of the LCD control panel, Aaton

Jog is a small wheel designed to simplify many user functions. When

used in conjunction with the contol panel the jog allows for quick

adjustment of some of the otherwise time-consuming parameters

(such as the setting of a precise 5-digit speed or a film short end).

2.9.2 Understanding the Control Panel

The control panel consists of a LCD display and four buttons to

access information. The control panel operates in two modes: Show

and SET. To show a parameter without adjusting, go directly to one

of the black function buttons to view relative information. To set a

parameter, first press the white SET button, then go to the appro-

piate function. Information is changed by either toggling that but-

USER 35 US 23/1 -2 1/20/98 19:46 Page 34

ton ot by rotating the jog, depending on the parameter. Pressing

SET afterwards (or waiting for 7 seconds) will enter your selection.

Capped text (SYNC, VAR, ISO) refers to those functions adjustable

while in the SET mode; standard text (Speed, Time, Iso/Batt) refers

to those functions accessible directly in the default Show mode.

Note that, while viewing a Show function on the control panel, any

inactivity longer than 10 seconds will revert the display back to its

default mode (speed and remaining footage). As mentioned pre-

viously, any break longer than 7 seconds while in SET mode will

automatically enter the last selection.

The following parameters can be accessed from the LCD control

panel in conjunction with the jog. For more concise information see

the table in the System Features and Controls chapter of this

manual.

2.9.3 AatonCode

As a standard feature the AATON 35-III is equipped with the capa-

bility of recording AatonCode in-camera time. TimeCode informa-

tion is exposed onto the film by optical projection of seven micro-

diodes into the gate to the left of the aperture opening. These

micro-diodes flash rapidly to form the code as the film rolls through

the gate between exposures.

AatonCode is initialized in the camera, in ASCII or SMPTE form,

through the Lemo5 connector located to the righ of the LCD

control panel. For the most straightforward and reliable communi-

cation, OriginCplus, Aaton’s masterclock, comparator, and SMPTE

generator device, should be used.

If AatonCode has been initialized in the camera, press button Time

to view timecode information. Toggling button Time will display

hours/minutes/seconds, then year/month/day, then the six-digit pro-

duction ID, then the camera’s equipment #, in that order.

2.9.4 ASA Setting

When using AatonCode in the AATON 35-III, the ASA(ISO) set-

ting must be adjusted to the exposure index of the film stock being

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USER 35 US 23/1 -2 1/20/98 19:46 Page 35

used. The ASA/ISO selection will insure that the timecode matrix

recorded on the edge of the film in the gate will be exposed at an

appropriate and useable level.

If AatonCode is not running in the camera, the setting of the

ASA/ISO will have no effect.

Press button Iso/Batt twice to view the ASA selection.

Press SET then button ISO, to adjust the ASA setting. Make your

selection between 25 and 1000 ISO by toggling ISO or by rotating

the jog wheel.

If the ISO selector is adjusted while the camera is in test or run

position, the correction will not take place until the next camera

start.

2.9.5 Battery Voltage

Press button Iso/Batt to read the voltage of the camera’s power sour-

ce. Notice that if the camera is running and button Iso/Batt is pres-

sed, the control panel will read and display the voltage under load.

2.9.6 Magazine Number

As soon as a magazine is installed in the camera, you can read is

number ID by pressing Iso/Batt three times.

2.9.7 Camera Preset Speed

The default mode of the control panel will automatically display the

camera speed selection, whether it be in sync or variable mode,

when the camera is powered but not running. When the camera is

turned on, the actual running speed to the .01 frame is displayed.

To adjust the preset speed, press SET, then button SYNC. Make

your selection of stepped crystal speed between 6 and 30 fps by

togling SYNC or via the jog wheel.

2.9.8 Camera Specific Speed

To choose a specific speed press SET, then VAR. Make your selec-

tion of any .001 incremented crystal speed between 3.000 and

40.000 fps via the jog.

Force Processing and the

AatonCode matrix

Regardless of the situation,

always set the ASA selector to

the actual exposure index of

the film. If you know before-

hand that your footage will be

pushed or pulled, don't worry

about compensating for the

sake of the precise exposure of

your timecode matrix. The

matrix is resistant enough to

handle exposure variances of

one and a half stops or more in

either direction.

Changing Speeds while

Running the Camera

Any camera speed, whether

preset or specific, can be chan-

ged when the camera is run-

ning. To do so, run the camera,

then follow these simple steps:

•Operating under a preset

speed (in sync mode), press

SET, then SYNC, then use the

jog wheel to choose a higher or

lower stepped speed.

Under a specific speed (in

variable speed), press SET, then

VAR, then use the jog to ramp

the speed higher or lower in

.001 frame increments.

USER 35 US 23/1 -2 1/20/98 19:46 Page 36

To set the camera to be driven from an external source (such as

film/video synchronizer or external speed control), press SET, then

VAR twice. Et will be displayed, indicating that camera is set in

external mode.

2.9.9 Speed Phasing

The phasing of the variable speed can be set to eliminate a roll bar

while filming a monitor. Operate first with no magazine on the

camera, because you first need to synchronise the camera speed to

the monitor frequency. Run the camera. Press SET, then VAR once,

turn the jog, until the roll bar seems stable on the screen. Press SET

to enter. Stop the camera, and then install a magazine. Run the

camera. Press SET, then VAR twice. Look through the camera at the

monitor and turn the jog until the roll bar is out of view. Press SET

to enter.

2.9.10 Remaining Footage

The control panel will display the footage remaining any time the

camera is running with a magazine on. The displayed footage is cal-

culated by the magazine itself: it is determined by the measure of the

feed core speed. To modify the footage measurement unit, press

ISO, then TEST and then ISO again to modify.

2.9.11 Elapsed Footage

With the camera stopped, press Speed twice, to view the elapsed

footage of the previous camera run. With the camera running press

Speed twice to view the elapsed footage of that particular take. The

display will revert back to its default mode (speed and remaining

footage) after 10 seconds.

2.9.12 Camera Software Version Number

If you need to know the software version number your camera is

equipped with, proceed as follows. Unplug the battery from the

camera. Put the camera on Test mode. Then, while installing the

battery, watch the LCD control panel carefully. During one second

it will display something like: T4 V2.08, indicating that you own a

Displaying a 5 Digit Speed

If the AATON 35-III is set to a

variable (5-digit) speed, the

control panel will only display

that speed to the .01 digit.

Keep in mind, the display will

not round off the speed, but

simply leave off the last digit.

For example, if the 5 digit

speed of 23.976 is entered, the

control panel will display

23.97, not 23.98.

THE CAMERA BODY

Remember… Variable

Speed for Phasing

Keep in mind, the speed phase

function of the control panel

will only operate when a

variable speed is initially selec-

ted.

When shooting 29.97, for

example, be sure to choose the

specific 29.970 instead of the

preset 29.97 if you plan to

incorporate the phase function

for that particular shot.

USER 35 US 23/1 -2 1/20/98 19:46 Page 37

35mm 4-Perf camera, working with the software version number

2.08.

2.9.13 Total Footage Recall

To find out total footage run through the camera since manufacture

install, hook up a battery onto the camera body, press SYNC and

flip the switch to TEST. The footage displays in thousands of

images.

2.9.14 Warning

If for some reason the camera loses its programming parameters,

“UNADJUST” will flash regularly. leaving the camera functionning.

The TCXO then uses default frequency adjustment, insuring a

TimeCoding precision of 10-4 instead of 10-6.

2.10 LED INDICATORS

The AATON 35-III utilizes LED indicators in three locations to convey

information: in the viewfinder and on both left and right sides of the

camera body.

2.10.1 Position and Meaning of the Diodes

•Two yellow diodes, placed on both right and left sides of the came-

ra body indicate that the camera is either on Test or on Run mode.

•Two red diodes, placed on both right and left side of the camera

body, and a third one, visible from the view finder, display a special

warning.

2.10.2 Camera Test Indicator

●Yellow diode is on.

●●● Red diode is blinking fast.

2.10.3 Camera Run Indicator

●Yellow diode is on.

❍Red diode is off.

USER 35 US 23/1 -2 1/20/98 19:46 Page 38

2.10.4 Low Battery Indicator

●Yellow diode is on.

●●●Red diode is evenly flashing.

The LCD control panel displays Lo Batt.

2.10.5 Low Speed Indicator

●Yellow diode is on.

●● ●Red diode is blinking fast.

The LCD control panel displays Lo Speed.

2.11 VIDEO ASSIST

The AATON 35-III accept 4 different video assist: CD52 PAL, CD52

NTSC, CD56 PAl and CD56 NTSC. The CD52 are black & white,

and the CD56 are color.

The control units for all Aaton CCD assists attach quickly to the came-

ra’s housing and can be used with an on-board battery. The video assist

may be used to help the director or operator control their images, or to

prepare the video editing, before the telecine stage.

The following chapter is mostly dedicated to the CD56, which is Aaton’s

high-end model, and is designed to offer high quality, flicker-free color

video assist imaging, burn-in windows, Vitc insertion and a frame line

generator in one integrated system.

2.11.1 The CD56 Color CCD Assist

You may use the CD56 color CCD assist in two different ways.

In some special situations (if you’re filming in the dark for example),

it might be more comfortable to look your images on a monitor

than through the viewfinder. This is why the CD56 is equipped

with a frame line generator: as you can choose the size and position

of the generated frame, the image you see through the viewfinder

(which might be in ratio 1.78 or 1.66 for example) can match exact-

ly the image you see inside the frame on the monitor. Moreover this

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USER 35 US 23/1 -2 1/20/98 19:46 Page 39

frame is easier to locate than the viewing screen’s frame. The director

can then immediatly control his operator’s images.

Of course, the video assist was first created to be used in such a way.

But, now that video editing (including the virtual video editing)

offers new powerfull tools to the editor, the CD56 can be used in a

different way. The CD56 provides a Vitc lines generator, which are

the dots and lines, usually put above the video image, used by video

editing machines. Therefore, images recorded by the video assist

may be directly used to make a video editing of the film; no need to

wait for telecine, no need also to have developped the rushes you

won’t use.

2.11.2 Installing the Control Unit

All of the CCD assists available for the AATON 35-III can be easily

attached on the camera body, in a few seconds without the need for

adjustment.

First locate the video port, above the Lemo 6 connector on the

motor side of the camera. Using a Allen wrench, loosen 3 or 4 turns

its small black screw. Remove the plastic port cover. Check that the

exposed lens of the CCD video assist is free of dust particles. If

Beware of the high power

consumption of the video

assist

The CD56, as well as the

CD52, is equipped with an

On/Off switch. As soon as you

have finsihed with using the

video assist, witch it to off.

Keep in mind that a CD56

needs up to 700 mA to run.

Vitc lines

•First line is the video timeco-

de line. Each time you switch

on the video assist, the video

timecode is set to 1:00'00'' 00

(the last number is the image

number). Then as soon as the

AATON 35-III is running this

time is incremented.

•Second line is the keycode

line. As the keycode should be

read from the film, this line

cannot be generated. Only syn-

chonization and checksum bits

are inserted.

•Third line is the audio time-

code line, i.e. all the timecode

information of the AatonCode

is inserted here.

USER 35 US 23/1 -2 1/20/98 19:46 Page 40

necessary, clean this surface with lens fluid applied with a coton Q-

tip. Install the lens into the camera video port. Connect the control

unit cable to the camera body through the Amph9 connector.

Connect a BNC cable to the monitor and power the AATON 35-

III. Turn on the toggle switch of the CCD Unit, the yellow diode

should light. Set the video assist iris wide open, and while looking at

the monitor, move the whole control unit until the viewing screen

image is in focus and square to the monitor. Rotating the unit

controls the image horizon, pulling or pushing it controls the image

focus. Tighten the Allen set screw to lock the control unit in posi-

tion. If the camera lens mount has been shifted from 35 to super 35,

loosen the video tap retaining the screw and refocus.

2.11.3 Menu Operation

The CD56 unit contains six operator buttons: up, down, left, right

arrows, menu and exit keys.

Press MENU to have the menu displayed.

Use arrows to access to the desired parameter.

Press MENU to indicate that you want to modify this parameter.

Use arrows to adjust this parameter.

Press MENU to validate

Press EXIT to memorize the new configuration.

• Std

Choose the video image frequency you need between 24 and 25

frames per second. Keep in mind that choosing 24 fps, provides a

non standard video signal, that you won’t be able to record.

• Color Temp

Depending on the kind of film you’re using (a film for inside or a

film for outside) the colors it will register will not be the sames. To

have the video colors closer to the film colors, you can choose bet-

ween 3200K (tungstein) and 5600K (daylight).

• Date

Date allows you to choose the position of the current date insertion

THE CAMERA BODY

USER 35 US 23/1 -2 1/20/98 19:46 Page 41

inside the video image. Use the arrows to proceed.

•Time

Time allows you to choose the position of the current time insertion

inside the video image. Use the arrows to proceed.

• Cam

Cam allows you to choose the position of the magazine number

insertion inside the video image. Use the arrows to proceed.

• Frame

Frame/Frame On-Off allows you to choose if you want (On) or not

(Off) a frame to be inserted in the video image.

Frame/Frame Top Left allows you to choose the position of the top

left position of the frame. Use the arrows to proceed.

Frame/Frame Botton Right allows you to choose the position of the

bottom right position of the frame. Use the arrows to proceed.

Frame/Edge allows you to choose between an Edge around the fra-

me, or No Egde.

• Phase adjust

Phase adjust is designed to move the flicker area outside the video

image. This function is available only when the CD56 and the

AATON 35-III are running at the same speed (both at 25 fps, for

example). Use the up and down arrows for a first quick phase

adjustment. And then, use the left and right arrows for a fine adjust-

ment. To proceed, run the camera and watch the video monitor.

• Options

Options allows you to access to a submenu only dedicated to the

AatonCode insertion.

Options/Screen allows you to choose to insert (On) or not (Off)

AatonCode information, which consists of Time, Date, and Equip-

ment number ID.

Options/Screen Y/C allows you to choose to insert (On) or not

(Off) the Y/C video exit informations.

Options/Font allows you to choose the font you need for the charac-

ters to be inserted. Choose 0 for edged characters, 1 for standard

characters, and 2 for bold characters.

• Technical

USER 35 US 23/1 -2 1/20/98 19:46 Page 42

Technical allows you to access to a submenu only dedicated to the

Vitc lines insertion. These lines are automatically inserted in the

video image.

Technical/XTAL Adjust is a parameter adjusted in factory. Keep in

mind that you should never modify it.

Technical/VITC Position allows you to choose the position of the

Vitc lines. Choose between line 16 and line 24.

Technical/VITC Parity allows you to select the parity of the Vitc

lines between Odd and Even. Make sure that your post-production

tools run properly with the selected value.

• About the Vitc lines

In order to have meaningful information encoded in the Vitc lines,

camera and video need to run at the same speed. If the video is set

to run at 25 fps, then the AATON 35-III should run at 25 fps.

And when the video is set to 24 fps, the AATON 35-III should run

at 23.98 fps (this slight variation between these two speeds comes

from some electronical imperious needs).

If the third Vitc line cannot be generated by the CD56, then a (*)

appears on the screen. This might occur because of two different

situations: whether the speeds of the AATON 35-III and the CD56

are different, or AatonCode has not be initialized inside the

AATON 35-III.

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USER 35 US 23/1 -2 1/20/98 19:46 Page 43

USER 35 US 23/1 -2 1/20/98 19:46 Page 44

THE MAGAZINE

USER 35 US 23/1 -2 1/20/98 19:46 Page 45

3.1 CONCEPT

The Aaton magazine has been designed to be instantly installed or

removed, and to be loaded quickly. In order to have a more compact

magazine, both cores (feed and take-up) shift together during fil-

ming.

The magazine is driven magnetically from two intermediate drives

connected to the camera motors; two magnetic wheels on the inner

side of the camera body couple with two similar wheels on the

throat of the magazine to transport the film. A magnetic drive sys-

tem decreases noise and power consumption, and prevents mechani-

cal stress during mis-loads.

The magazine handles up to 400 ft (122m) loads of 35mm film

stock. 400 ft of film is a little more than 4 running minutes at 24

fps

3.2 PRESSURE PLATE SYSTEM

The magazine features two pressure plates which are located at the front

of the magazine’s nose. When the loaded magazine is attached to the

camera, these pressure plates provide the precise stabilization of the film

during exposure and transport.

3.2.1 The Gate Plate

The long plate, called the gate plate, is positioned at the camera’s

gate. Its main function is to stabilize the film as the claw engages the

film perf between exposures. Proper tension and functioning of the

gate plate contribute to reliable transport and quiet operation.

3.2.2 The Picture Plate

The striped pressure plate, called the picture plate, is positioned at

the camera’s aperture opening and is designed to hold the film stea-

dy at the point of exposure. Proper setting and functioning of the

picture plate assures the precise focus of each image.

USER 35 US 23/1 -2 1/20/98 19:46 Page 46

3.3 LOADING

3.3.1 First Step, in Daylight

Here you prepare the magazine to receive the film.

•Place the magazine on a table, its throat facing left. Unfasten the

door locks by turning downward and open the door.

•You can now choose to have the footage remaining displayed (on

the magazine as on the LCD control panel on the camera body) in

feet or meters. The red sliding switch, accessible from the inside of

the magazine, sets meters on its right, and feet on its left.

•With your thumbs, push the two spindles towards the nose of the

magazine. This operation is accompanied with a loud clicking

sound: don’t be alarmed, this is completely normal.

•Unscrew both spindle-locks (if necessary, hold the base of the

cores). The spindle-locks are easy to locate: they have the shape of a

rounded rectangle.

•You can now place an empty core on the take-up spindle (the left

one). Check that the core drive pin on the spindle is not caught on

one of the core ribs or the roll will not seat properly. Firmly screw

down the corresponding spindle-lock to secure the empty core to

the spindle.

Attention! Be sure you have put the core in its correct way. To check

so, imagine that you will have to fit the film in its slot. A white

arrow is engraved on the base of the spindle to help you install it

correctly.

•Release both sprocket pinch rollers (they have the shape of a half

circle) by rotating them counter-clockwise. Theses rollers should be

opened to let the film slide between them and the sprockets.

Their half-circles face the nose of the magazine when closed, or face

the chamber of the magazine if they are opened.

•Now closely look at the mechanism inside of the magazine. And

memorize the following diagram and instructions.

•Then, put the magazine in a dark room or changing bag.

3.3.2 Loading, in the Dark

THE MAGAZINE

USER 35 US 23/1 -2 1/20/98 19:46 Page 47

•Remove the film from its can and bag.

•Place the film roll on the rear spindle. Check that the core drive

pin on the spindle is not caught on one of the core ribs or the roll

will not seat properly. Secure the spindle-lock.

•Thread two feet of film, making sure it passes outside the top gui-

ding rollers.

•Insert the film between the pinch rollers and sprockets making

sure the perforations engage with the sprocket teeth.

•Turn the upper and lower pinch rollers clockwise, to close them.

•Slide the film in the slot of the take-up core. Rotate this core three

or four turns.

•Check that the film is firmly attached and positioned correctly

around the sprocket wheels.

•Close the door, and fasten the door locks by turning them upward.

If you cannot close the film door, it means that you have forgotten

to close one or both pinch rollers.

•The remainder of the procedure can be performed in daylight.

3.3.3 Adjusting the Loop, in daylight

sprocket pinch roller take up core

feed core

sprocket

USER 35 US 23/1 -2 1/20/98 19:46 Page 48

Once the door is closed, you need to adjust the loop.

•Place the magazine with its digital display facing toward you and

the magazine nose being to your right. The correct loop size can be

adjusted, by using the loop tool delivered with the magazine.

•If you cannot insert the tool between the mag pressure plate and

the fim, you need to enlarge the loop. To do so, push the disk mar-

ked "push for loop adjust" with your right tumb while holding the

film against the pressure plate with your right forefinger. Using your

left hand rotate the upper magnetic wheel clockwise until the loop

length allows you to insert the tool.

•If you need to reduce the loop length, simply push the disk marked

"push for loop adjust" with your right thumb and rotate the upper

magnetic wheel counterclockwise before installing the mag on the

camera. DO NOT FORGET to remove any slack existing between

the lower sprocket and the take-up spool. To do so, rotate the

magnetic wheel situated at the left of the loop adjusting disk coun-

terclockwise. The wheel should turn smoothly as the film winds on

THE MAGAZINE

USER 35 US 23/1 -2 1/20/98 19:46 Page 49

the take-up core indicating that the magazine has been correctly loa-

ded.

•You can then install the mag on the camera body.

•To engage the film, turn the camera's ON/OFF switch to test posi-

tion and off again. If the loop is too short or not properly centered

into the camera gate, the camera LCD display should show

"LOOP". Desengage the magazine, readjust the loop length if neces-

sary and reinstall the magazine on the camera body.

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THE MAGAZINE

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THE AATON SYSTEM

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4.1 CAMERA CONFIGURATIONS

The AATON 35-III is designed to be easily converted between the follo-

wing two accessory configurations:

4.1.1 15mm Front Rods

The most versatile and popular configuration for accessorizing the

AATON 35-III, the universal 15mm screw-in front rod system can

instantly accept Aaton, Arri, Chrosziel, Petroff and other manufactu-

rers’ mattebox and follow focus system.

Utilizing the front rod system allows for quick conversion from tri-

pod to shoulder operating modes without the need for reconfigura-

tion.

Aaton manufactures 50mm and 120mm length rods that screw

directly into the front housing of the AATON 35-III under the lens

port.

The 15mm front rod system is recommended when standard size

lenses and accessories are to be used or when quick conversion bet-

ween tripod and handheld modes is necessary.

4.1.2 Sliding Bridgeplate

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The AATON 35-III can also accept standard 15 and 19mm sliding

bridgeplates for building the camera system for high-end studio

work. The bridgeplate configuration can accept Aaton, Arri, Chros-

ziel and other manufacturer’s mattebox, follow focus and support

equipment that is designed for bridgeplate use.

Standard bridgeplates from Aaton, Arri and other manufacturers can

be attached to the AATON 35-III by means of the 3/8-16 tripod

recepticle on the underside of the camera.

The sliding bridgeplate system is recommended when large 35mm

lenses and accessories are to be used and when the use of a geared

head is necessary.

4.2 HANDGRIP

The AATON 35-III body includes a wooden handgrip, short 15mm

rods, rod coupler and Lemo2 cable as standard. The handgrip which is

designed to be used for comfortable handheld operation, can also be used

to provide on/off control on the motor side of the camera while on the

tripod.

4.2.1 Mounting the Handgrip

Screw in one 15mm short rod in each of the two recepticles on the

front housing of the camera below the lens port. Slide the coupler

over the two rods to the desired location and fasten the center wing

nut to secure the coupler in position. Attach the handgrip to the

coupler by mating the starplate on the coupler to that on the hand-

grip, adjusting to the desired position and fastening the T screw of

the handgrip. Connect the Lemo2 cable between the handgrip and

camera body to add on/off capability to the handgrip. The Lemo2

connector is located on the motor side of the camera, (between the

two motors), under the Lemo8 and Lemo6 connectors.

4.2.2 Hangrip On/Off Functions

Both camera run and test functions are available from the handgrip.

THE AATON SYSTEM

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While hand-holding the camera, pressing the rocker switch to the

right provides camera run, pressing the switch to the left provides

test. Unlike the body switch, the camera test position of the hand-

grip is a momentary switch. Pressing and holding the switch opens

the shutter and advances the mechanism 1/2 frame. Pressing and

immediately releasing this switch advances the mechanism one full

frame at a 1/4 sec exposure time. This function allows the use of the

handrip as a simple intervalometer.

4.2.3 Handgrip Adjustment

The handgrip rotation should be adjusted for maximum handheld

operating comfort. Loosen the T screw and rotate the handgrip at

the star plate until a more comfortable position is found. If a more

extreme repositioning is required, whether it be for reasons of com-

fort or clearance in certain studio rig configurations, this can be

achieved with coupler extenders, spacers and intermediate arms whi-

ch utilize the star plate system for adjustment. Ask your agent for a

configuration that meets your needs

4.3 TRIPOD USE

In order to use the AATON 35-III on a standard tripod, the tripod’s

quick release plate must be fastened to the underside of the camera

body with its standard 3/8-16 screw. Make sure to use only a quick

release plate screw provided by the manufacturer; non standard

screws longer than 8mm (1/3’’) can fracture the base casting and

damage the camera’s electronics.

4.4 SHOULDER OPERATION

One of the most attractive features of the Aaton system has always

been its comfort and ease of use in handheld situations.

The AATON 35-III does not require the use of shoulder braces or

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additional padding for handheld operation. The wooden handgrip is

attached to the front rod coupler at a slight angle to bring the opera-

tor’s elbow into his side and increase stability.

The system can be completely built off the 15mm front rods

without the use of a bridgeplate to allow for quick changing from

shoulder to tripod operating modes.

4.5 CARRYING HANDLE

The carrying handle of the AATON 35-III is reinforced to safely acco-

modate any carrying, operating or mounting operation.

4.5.1 3/8 Accessory Screw

The handle features a 3/8-16 insert to receive accessories such as

french flags and lightweight monitors. Be sure not to use a 3/8 screw

longer than 11mm (7/16’’); longer screws can fracture the insert and

damage the viewfinder’s optics.

5.2 Mounting from the Carrying Handle

The 3/8 insert can also be used to build a plate to undersling the

camera or to configure the rig for Steadicam low mode use. For this

reason, the handle features a long flat top surface that is parallel to

the bottom of the camera.

4.5.3 Tape Measure Hook

The handle is also equipped with a hideaway tape measure hook,

which is positioned between the rods directly behind the 3/8 insert.

To use this hook, pull it up and fasten the ring of a standard assis-

tant’s tape measure around it; the hook holds the tape measure zero

point precisely at the film plane.

4.6 TRANSPORT

THE AATON SYSTEM

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One often overlooked, yet vital factor in the proper functioning and lon-

gevity of your camera equipment is your transportation practices. A few

good shipping habits can avert potential damage caused by careless mes-

senger services and airport handling.

When shipping and carrying your equipment, it is always good

practice to break down the package to its basic components whene-

ver possible. Ship the body, mags and batteries unattached and indi-

vidually padded. Never, under any circumstances, ship the camera

with a lens attached (especially a zoom lens). Shocks transferred

from the outside of a case could have disastrous effects to the ultra-

critical back focus of a lens and flange focal distance of a camera if

transported as one.

Make certain there is ample padding between individual compo-

nents in a case and from the case’s outer edges. Shipping case manu-

facturers suggest a minimum of 1 1/2’’ padding between high preci-

sion components such as the camera and lenses. 1’’ of padding is

acceptable, however, between some of the more rugged components,

such as magazines and batteries. Manufacturers also suggest to allow

2’’ of padding between the components and the outside of the case.

Choose a case design that, not only meets your shipping and travel

requirements, but allows you maximum flexibility and comfort out

in the field. Check with your Aaton agent to determine the case

configuration that best suits your needs.

4.7 EXTREME CONDITIONS

Certain precautions should be taken in order to achieve maximum

performances when operating the AATON 35-III in extreme or

adverse conditions.

4.7.1 Cold Weather

The AATON 35-III features a built-in electronic heating element

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located in its base which is designed to automatically turn on when

needed and maintain the claw mechanism at a temperature of 15°F.

One of the cold, hard facts of cold weather shooting is the conside-

rable reduction of battery life. Do whatever possible to conserve

your batteries and always carry more than usual. Favor many small

batteries, such as on-board and lithium cells (which are easier to

keep warm), over large block batteries. Use a powercable so that the

on-board battery could be kept in a pocket close to the warmth of

your body.

When filming outdoors, use a standard or heated barney to protect

the camera body from direct contact with the wind and cold. To

avoid condensation inside the mechanism, electronics and lens ele-

ments, do not take the equipment indoors or expose it to sudden

temperature changes. If and when the equipment must be moved

inside, do so by first placing it in a sealed container and let it thaw

for a few hours before opening.

Always keep your raw stock and loaded magazines above freezing

temperatures at all times during a cold weather shoot.

4.7.2 Warm Weather

The keep the temperature of the camera body down, avoid having

the camera exposed to direct sunlight for long periods of time by

using a barney, all-weather cover, or some form of shading, like an

umbrella.

Most importantly, keep raw stock and magazine in a dry cooler, or

in the coolest location available.

THE AATON SYSTEM

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CLEANING

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5.1 LENS

5.1.1 Lens Elements

The front and rear surface of your lenses should be inspected regu-

larly and always kept clean of dust particles, smudges, fingerprints,

etc. First, blow off any large particles of debris using an air syringe.

Lens elements should then be cleaned using lens cleaning fluid with

lens tissue. Apply a few drops of cleaning fluid to a fresh lens tissue

or directly to the lens. Wipe the lens in a circular fashion, starting

from the center and working towards the outter edge. Finish with a

fresh dry tissue. If some streaking remains, repeat the procedure

until the surface is sufficiently clean.

5.1.2 Lens Exterior

The exterior of your lenses should be cleaned of dirt and adhesives

as necessary. Use a multi-purpose cleaner or degreaser such as De-

Solv-It applied with a Q-tip, lens tissue or cotton cloth.

5.1.3 Mounting Surface

Always inspect and keep the surfaces of your lens mount clean using

alcohol or a multi-purpose cleaner with a Q-tip.

Remember, any debris found on the surface which contacts the lens

seat can directly affect the back focus of your lens. Make sure the Q-

tip does not leave any cotton fibers behind.

5.2 BODY

5.2.1 Exterior

Keep the external body surface clean using a cotton cloth with alco-

hol or a multi-purpose cleaner. use a utility brush with soft bristles

to clean dirt from tight crevices.

5.2.2 Mounting Surfaces

Like the lens mount, extra care should be taken to keep the lens

Lens Cleaning Tips

Avoid handling lens tissues on

the surfaces which will contact

the lens. Oil from your hands

transferred to the lens surface

will make an easy cleaning job

tough. Furthermore, never

clean a lens element without

the aid of cleaning fluid. A

good number of scratchs on

lens surfaces are caused by poor

cleaning methods.

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port ring completely free of dirt and debris. Clean this surface, as

well as the threads of the lens lock ring using alcohol or a multi-pur-

pose cleaner applied to a Q-tip.

5.2.3 Camera Gate

The gate should be cleaned of film particles by means of a pointed

wooden or plastic orange stick. The tool used should be of a soft

and pliable enough material (like wood) to conform to the grooved

side channels of the gate without breaking. Make sure to inspect and

clean the right and left channels, the frame of the aperture opening,

the lateral pressure plate, the tip of the claw, and the timecode

LEDs.

Afterwards, run your fingers across the left and right rails of the

gate, if your hands are clean. The oil of your finger will provide just

enough lubricant for the film to pass these surfaces smoothly. Ins-

pect the gate; if the rails are still dirty or are carrying any debris

(such as the adhesive from recanned rolls of film), with a Q-tip, use

a cleaning fluid that will do the job. Alcohol and lens cleaners are

safe to use on the surface on the gate. Make sure the Q-tip doesn’t

leave any cotton threads behind.

5.3 VIEWING SYSTEM

The following components of the viewing system should be cleaned

whenever dirt particles are visible through the viewfinder. Use lens

fluid applied with a cotton or preferably a foam Q-tip for all areas.

By cleaning the viewing system in the order described below, you

will clean the more dust-prone areas first, which may help you track

down most dirt particles sooner.

5.3.1 Viewing Screen

Look through the lens port at the reflection of the viewing screen in

the miror and check for visible dust particles. Remove the battery

and then clear the mirror shutter so that it is rotated safely inside

Cleaning the Mirror

Shutter

Do not attempt to clean the

surface of the mirror shutter;

any small dust particles visible

from the lens port will not

come into focus in your view-

finder. If large particles of dirt

must be removed, do so using

an air syringe. Never use can-

ned air on this surface.

If the mirror is in need of a

deeper cleaning, to remove

smudges or oil, take your

camera to a qualified techni-

cian to be cleaned.

CLEANING

WARNING

Remember, the camera gate is a

sensitive and high precision

area directly responsible for the

exact focus of the image; be

careful not use hard, damaging

materials (like metal) on its

surface.

Under no circumstances

should you perform any func-

tion within the aperture ope-

ning, lens port or near the claw

with power attached to the

camera. Accidently running

the camera while performing

such tasks can cause serious

damage to the shutter and

mechanism.

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the body. Remove the viewing screen. Clean both upper and lower

surfaces of the screen and reinstall.

5.3.2 Eyepiece

Clean the eyepiece lens, which is the outermost element closest to

your eye, by first blowing the surface with canned air, then cleaning

with lens fluid and a Q-tip. Remove the eyepiece and clean the field

lens, which is located on the inside of the eyepiece, in the same

fashion.

5.3.3 Viewfinder

Do not install the eyepiece back right now. First, look inside the

camera’s eyepiece seat, and locate the two triangular lenses (called

the Pechan prism). Clean these two triangular lenses using canned

air or an air syringe. Then install the eyepiece back.

5.4 MAGAZINE

5.4.1 Exterior

Keep the external surface of the magazines clean by wiping down

with a cotton cloth with alcohol or a mutli-purpose cleaner. When a

deeper cleaning is necessary, use De-Solv-It rubbed into the mag’s

surface with a cotton cloth. Finish with alcohol applied with a cloth

to restore its original finish.

5.4.2 Pressure Plates

The magazine pressure plates should be cleaned of dirt and film par-

ticles by means of a dust-free cotton or chamois cloth. After clea-

ning, run your finger across their surface for a slight lubrication.

5.4.3 Interior / Film Path

Open the door of the magazine and inspect all surfaces on which

the film rides. If any film dust buildup is apparent in the sprocket or

roller areas, use alcohol and a Q-tip to clean. Use a utility brush

Finding the Dirt…

There is a simple means of

locating much of the dirt

within your viewing system.

Look through the viewfinder

with no lens on the camera and

adjust the diopter ring. If the

dust particles remain in focus,

they are most likely located on

either side of the eyepiece. If

the dust comes in and out of

focus as the ring is moved, the

dust is probably located on

either surface of the viewing

screen. Furthermore, if the

dust appears to be on the same

focus plane as the cross hairs of

the viewing screen, it is most

likely on the bottom surface on

the screen and easily accessible.

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with soft bristles to clean particles from tight crevices. Afterwards,

use canned air and thoroughly blow out any remaining dust in the

throat and chamber.

CLEANING

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SUPER35

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6.1 SUPER VS STANDARD 35MM

6.1.1 The Super35 Format

Super35 is a comeback to the cinema origins: silent cameras were

exposing all the available area between perforations of the 35mm

film. When came the “talkies” the picture had to be reduced to give

room to the 2.54mm-wide optical sound track. Equipment manu-

facturers had to shift the optical axis of all their cameras and projec-

tors by 2.54/2 = 1.27mm. Sixty years later Super35 is coming back

because it records 16/9 pictures with much less of a waste than the

so called “Wide-Screen” formats. For a camera to handle both for-

mats, it must be able to align the lens mount and the viewfinder

optical axis either in the middle of the film width (Super35) or

1.27mm away (Standard35).

Standard 35mm Super35

6.1.2 Why Shooting Super35 ?

If contact prints with analog sound track is not a requirement,

Super35 is the unquestionable choice for maximum resolution.

This format should always be selected when it comes to shoot high

quality 16/9 films for video distribution only ; all telecines are able

to “scan” the wider Super35 pictures with no modification at all.

Super35 will be the format of choice for films treated through

Kodak Cineon and Quantel Domino, or distributed with digital

sound tracks only. For the time being and for normal film distribu-

tion (with analog optical sound track), this format requires an opti-

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cal “reduction and axis shift” at the interpositve stage.

6.2 CAMERA CONVERSION

The 35-III camera can easily be converted from Standard35 to Super35

and back. A quick lateral sliding of the viewfinder and lens mount,

that’s all there is to it.

6.2.1 Lens-Mount Repositionning

The lens-mount is on a titanium seat which rests on the camera

main chassis ; this seat can laterally move by 1.27mm between two

stop pins. To have access to the seat, remove the two front rods and

the lens locking ring, unscrew the four retaining screws of the front

cap and remove the cap. The titanium lens mount seat is now

accessible. Loosen (3 or 4 turns) the three screws which appear in

elongated cut-outs ; push the titanium seat against the pin on the

VIDEO-ASSIST SIDE to set the camera in SUPER35 (or push the

titanium seat against the pin on the DISPLAY SIDE to set the

camera in STANDARD35). Retighten the three screws, reinstall the

front cap, the lens locking ring and the front rods.

Please note: if you are frequently swaping formats, it is advisable to

install a Super35 engraved (or Standard35 engraved) front cap ins-

tead of the universal front cap delivered with the 35III camera.

These format specific caps can’t be fixed on the central chassis if the

titanium seat is not in the position engraved on the cap itself ; this

external engraving brings peace of mind to the camera-assistant and

to the prep. people.

6.2.2 Shifting the Viewfinder

The optical axis of the viewfinder need to be set to the optical cen-

ter of the main taking lens. The viewfinder and the carrying handle

form a block, which can easily be shifted laterally. This block is

attached to the camera central chassis by 4 screws located at the base

of the carrying handle. To set the viewfinder to SUPER35, loosen

the 4 screws, shift the handle toward the VIDEO-ASSIST side

SUPER35

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(until it reaches its stop), and then tighten back the screws. To set

the viewfinder to STANDARD35, shift the handle toward the DIS-

PLAY side.

6.2.3 Selecting a Viewing Screen

There is a wide choice of Standard35 viewing screens and four

Super35 ones to the 1.78, 1.85, 2.35 and Scope aspect ratios. To

install a new one, please read chapter II, viewing screen section.

WARNING: when shooting Standard35 DO NOT leave the camera

in the Super35 alignment, thinking that framing with a Standard35

screen will define the picture to be extracted from the wider

Super35 recorded image. As far as video transfer is concerned, this

practice could be acceptable because the telecine ‘pan-scan’ function

allows to reframe the picture for the lack of 1.27mm optical center

shift, but when it comes to release prints the image would be

1.27mm truncated at the projector gate level: on the left of the

screen some objects would disappear and on the right some unex-

pected ones would show up (6% of the image width -1.27/22mm-

each side).

6.2.4 Adjusting the Video Tap

The beamsplitter which diverts the viewing screen image to the

video-assist CCD target is mounted on the taking lens mount tita-

nium seat, it is thus not necessary to realign its optical axis, but the

focus must to be readjusted. Please read Chapter II, video-assist sec-

tion.

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SUPER35

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3-PERF FORMAT

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7.1 CONCEPT

The only thing we know about tomorrow’s high definition TV is its

aspect ratio of 16/9 (1.78). This new ratio is now taking the place of

the 1.85 (USA) and 1.66 (Europe) ratios. This is why it is time to

re-examine the Moscow’s idea (1962) of the 3-Perf format.

As a matter of fact, an image with the 1.78 ratio, with its both edges

close to the 35mm film perforations, is a little higher than 3 perfo-

rations high. Why should we keep a huge amount of unused emul-

sion between two images (i.e. why should we keep filming in 35mm

4-perf)?

35mm standard 35mm 3-Perf

3-Perf presents three main advantages:

•Saves 25% on raw stock.

•Increases magazine running time (a 400’ roll increase from 4 1/2

to 6 minutes).

•Allows for the camera to run quieter.

7.2 THE AATON 35-III 3-PERF CAMERA

BODY

A 3-Perf camera body is available. This is a special AATON 35-III,

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with the sames viewing system, magazines, and lens as on a standard

AATON 35-III (4-Perf). For one who already owns a AATON 35-

III, it is only required to buy a 35-III 3-Perf camera body, because

he can use the magazines, viewing systems, batteries, and so on whi-

ch was aquired for his standard 35-III.

3-PERF FORMAT

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AATONCODE

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8.1 CONCEPT

AatonCode, Aaton’s proprietary in-camera timecode system, is recor-

ded in the AATON 35-III on the edge of the film between the per-

forations in both matrix and man-readable form. As recorded in the

camera, a six digit production ID, a SMPTE-compatible real time

address (full date and time), an equipment ID and the running

speed of the body.

TimeCode is exposed onto the film by means of seven micro-diodes,

which flash rapidly to form the code as the film rolls through the

gate. The intensity of the diodes is adjusted to the film’s sensitivity

by means of the camera’s ASA selection.

The AATON 35-III can accept timecode information in both

ASCII and SMPTE form, and work with all standard timecode

devices. Beacuse the same time address is running in both the came-

ra and the sound recorder, a slate is no longer needed for syncing

purposes; synchronization becomes fully automatic during the

film/tape transfer or later post-production stages.

An Aaton device called Keylink, which consist of CCD reader heads

and a PC, and which is owned by the telecine house, is designed to

read Keycode and AatonCode off the film during transfer and corre-

late this to the continuous video timecode and all other transfer data

entry for storage on its hard drive. Keylink can also ingest scene/take

information and notes from the set recorded by means of Aaton’s

ScriptLink software.

The facility can then supply all correlated information in VITC

(vertical interval timecode) and/or burn-in windows on the transfer-

red tape, and also on floppy disk for direct use with non linear edi-

ting systems, audio workstations and logging programs.

8.2 THE INTERNAL CLOCK

The AATON 35-III contains an internal clock designed to be initia-

lized from an outside source and keep accurate time (within a half a

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frame) for 8 hours.

The camera is equipped with an instantly charged supercapacitor

buffer that is designed to keep time between battery changes. Keep

in mind that a battery which is too low to run the camera has

enough energy to drive internal clock for hours. Get into the habit

of leaving an exhausted battery on-board the camera until you have

a fresh battery close by. The supercapacitor allows a full minute for

battery replacement before timecode is lost.

8.3 ORIGINCPLUS MASTERCLOCK

For the most efficient and foolproof means of working with Aaton-

Code, it is highly recommended that an Aaton device called Ori-

ginCplus is used. OriginCplus can be quickly programmed with a

production ID, full date and time of day, then initialize timecode

devices in either ASCII or SMPTE form. OriginCplus is TCXO-

controlled and will run for 150 hours with an internal 9V lithium

cell; it is designed to be left on during the shoot day and used as a

comparator to monitor timecode drift between devices.

OriginCplus can also be used as a SMPTE generator to supply accu-

rate timecode for slates and inserters, or to record timecode on one

audio channel of a non timecode audio recorder.

8.4 INITIALIZING AATONCODE IN THE

CAMERA

There are two ways in which AatonCode can be initialized in the

AATON 35-III camera. The preferred method is by means of the Ori-

ginCplus, which inputs timecode in ASCII form. It is also possible for the

camera to receive information in SMPTE from directly from a SMPTE

timecode device such as an TC audio recorder. Both methods are detailed

below.

AATON CODE

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8.4.1 Using the OriginCplus - Recommended Method

•Program the OriginCplus by inputting Prod ID, accurate date and

time of day. Press the # key to scroll through each field; after all

fields are set as desired, press * to start the clock.

•Make sure the camera has a battery attached.

•Plug the Lemo5 cable of the OriginCplus into the Lemo5 chassis

mount on the base of the camera.

•Press * on the OriginCplus to send the timecode information. The

OriginCplus will display Good OO.O after the timecode has been

accepted in the camera. The control panel of the AATON 35-III

will display hours/minutes/seconds when the button marked Time is

pressed. Toggling this button will also display year/month/day, then

the production ID, then the equipment #.

•Make sure to adjust the ASA selection to the exposure index of the

film stock being used.

•Disconnect the OriginCplus from the body and proceed to the

next device.

8.4.2 Using an External SMPTE Device

•Make sure the AATON 35-III has a battery attached and is not

running.

•Choose the SMPTE timecode device that will be supplying the

timecode (such as a Fostex PD2 or a Nagra IVS-TC). Set the time

of day and date, and set its clock to free run mode.

•Connect a cable from the SMPTE output of the timecode device

to the Lemo5 chassis mount on the base of the camera.

•Set the on/off switch on the camera to run or test position, then

off again; this will send the timecode information to the camera

body. The AATON 35-III will display hours/minutes/seconds when

the button marked Time is pressed. Toggling this button will also

display year/month/day and the equipment #. No production ID

will be recorded.

•Disconnect the cable from the body and proceed to the next devi-

ce.

8.5 MONITORING AND MAINTAINING

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AATONCODE

After initialization, the OriginCplus should be left on during produc-

tion to act as a visual reference and for quick drift monitoring. Once

timecode has been initialized into the camera(s) and sound recorder,

accurate time will be individually maintained in each machine for 7

hours. It is suggested, however, that new timecode be re-initialized after

4 hours or so as a precautionary measure. Get into the habit of using the

OriginCplus to monitor timcode drift in each device when possible; eve-

ry 2-3 hours or so is recommended.

8.5.1 Monitoring AatonCode with OriginCplus

Assuming that the OriginCplus has been left on during the produc-

tion, follow the simple procedure below to monitor drift in the

camera.

•Plug the Lemo5 cable of the OriginCplus into the Lemo5 chassis

mount at the base of the camera.

•Press * to monitor AatonCode drift. OriginCplus will compare its

own timecode to that of the AATON 35-III. OriginCplus will dis-

play Good, fair, bad or diff-time (different time) followed by the

amount of drift in tenth of frame.

•Follow the same procedure for each camera or sound recorder on

the set running AatonCode. When initializing or monitoring time-

code in a SMPTE device, press *0 on the OriginCplus.

8.5.2 Maintaining AatonCode without OriginCplus

If the OriginCplus has not been used and timecode has been set

directly from the TC audio recorder, there is no way to monitor

timecode drift between the two devices. In this case, it is recommen-

ded to simply re-jam the camera every 2 or 3 hours.

Make sure that the camera on/off is switched to run or test position

for it to accept the newly fed code.

8.6 GMT1 SMPTE GENERATOR

AATON CODE

USER 35 US 23/1 -2 1/20/98 19:46 Page 81

Because more and more cineasts are using sound recorders not speci-

fically designed for cinema, which means with no integrated timeco-

de, Aaton needed to modify its OriginCplus: now, OriginCplus is

able to serve as a SMPTE generator, which you can connect to any

sound recorder.

But OriginCplus may be too big and too powerful for such an usage.

So Aaton decided to build the GMT1, a mini SMPTE generator

also designed to provide a timecode track for any sound recorder.

The GMT1 is smaller than the OriginCplus, and can work conti-

nuously for 150 hours with just a standard 9V battery. Its timecode

informations (time and date) can be initialized with any SMPTE

generator such as OriginCplus.

To choose the SMPTE frame rate you need (according to the speed

of your camera), remove the battery cover and turn the small white

cross, beside the 9V battery, with a screwdriver. You can choose bet-

ween 24, 25, 29.97 and 30 fps. The selected frame rate LED will

flash every second.

You can also use the GMT1 as an OriginCplus supplier: if one day,

by mistake, you have forgotten to take your OriginCplus with you,

then use the GMT1 to initialize timecode in your camera. The

GMT1, with no timecode initialized inside, is still able to generate a

SMPTE code, starting at 1h 00mn 00s.

8.7 THE CAMERA ASSISTANT’S DUTIES

Although timecode-related practices on the set are very straightforward

and uncomplicated, there are a few duties which should be handled by

a camera assistant as part of his/her routine.

8.7.1 Checking the Diodes

In order to inspect and clean the gate between magazine rolls, the

camera must be set to test position. Not only will test position rota-

te the shutter 180°, but the seven timecode LEDs in the gate will

illuminate in a three/four sequence. Use this pattern to occasionaly

USER 35 US 23/1 -2 1/20/98 19:46 Page 82

check that all diodes are operational and evenly illuminated. As part

of the normal gate cleaning procedure, clean this area with a Q-tip

moisten with lens cleaning fluid to assure that no dust particles

cover the LED array.

The seven diodes will illuminate in test position whether or not

timecode is running in the camera.

8.7.2 Setting the ASA

When changing magazines, make sure the ASA/ISO setting of the

camera matches the film stock being used.

AATON CODE

USER 35 US 23/1 -2 1/20/98 19:46 Page 83

USER 35 US 23/1 -2 1/20/98 19:46 Page 84

TECHNICAL SPECIFICATIONS

USER 35 US 23/1 -2 1/20/98 19:46 Page 85

9.1 TECHNICAL SPECIFICATIONS

Weight 7kg (16 lbs) with 400’ load and on-board battery.

Power Brushless, high efficiency tri-phase motor; 1.4 amp.

consumption with film at 25°C (77°F) under 12V power supply

(10-15V).

Temperature Range -10°C (14°F) to +40°C (104°F)

Noise Level 4-Perf: 30 / 33 dB. 3-Perf: 27 / 30 dB

Frame Rate Sync speeds: 24, 25, 29.97, 30 fps. Built-in var crys-

tal control to 2 to 40 fps in 0.001 increments.

Steadiness Co-planar claw movement for lateral and vertical stea-

diness to 1/2000th of image dimension.

Viewing System Interchangeable screens: 1.37, 1.66, 1.78, 1.85

aspect ratios.

Camera Mounts Interchangeable hard front: ArriPL, Panavision,

Nikon.

Shutter Reflex mirror, user-convertible on option; 180° for 24 fps

under 60 Hz lighting, 172.8° for 24 fps under 50 Hz, 150° for 25

fps under 60 Hz, 144° for NTSC monitoir.

35 / Super 35 Quick centering of lens axis for either format.

Time Code AatonCode man-readable figures and rugged SMPTE

matrixes. 1/2 frame accuracy over 8 hours.

Accessory Inputs Amph9 (video sync), Lemo6 (power zoom),

Lemo8 (speed controllers de vitesse), Lemo5 (SMPTE and RS232).

Video Assist Black & White - low power, high sensitivity, integra-

ted CCD assist with manual iris. PAL or NTSC formats.

Color - high sensitivity, flicker-free, integrated CCD assist with

timecode windows and Vitc insertion. PAL or NTSC formats.

Magazine Instant, 400’, reading in feet or meters.

LCD Display Speed selection, remaining footage, ISO selection,

battery voltage, full AatonCode readout via a single rotating jog.

Operator Warning Speed discrepancy, misloading, low battery

indicator.

Camera Shut-off Automatic at end of roll.

USER 35 US 23/1 -2 1/20/98 19:46 Page 86

9.2 CONNECTOR - PIN ATTRIBUTIONS

Type Fonctions Diagram Localisation Pin Attributions

Lemo2 On/Off/Test Between the 1 Ground

two motors. 2 Start

Looking down.

Lemo5 TimeCode Under 1 Ground

Interface jog wheel. 2 Smpte In

3 ASCII In/Out

4 et 5l Not used

Lemo6 Power Zoom Above the right 1 -Batt

motor. 4 +Batt

6 Start

2, 3 & 5 Not used

Lemo8 Speed Above and to 1 -Batt

Controllers the right of 2 TV Sync

the left motor. 3 ASCII In/Out

4 +Batt

5 100 PFF Out

6 Start

7 100 PFF In

8 Ground

Amph9 Video Sync Above the 1 -Batt

left motor. 2 TV Sync

3 2400 Hz

4 ASCII In/Out

5 +Batt

6 -Batt

7 Strobe

8 Start

9 +Batt

XLR4 Power In Above the 1 -Batt

jog wheel. 4 +Batt

2 et 3 Not used

pin socket

TECHNICAL SPECIFICATIONS

5432

9876

USER 35 US 23/1 -2 1/20/98 19:46 Page 87

ACAD+TVTRANS+ TV safe

1.66

1.85

1.37 + 1.66 & 1.85 markings

ACAD+TVTRANS+ TV safe + 1.85

SCOPE 2.35

ACAD + TVTRANS + TV safe +1.66

1.85 SUPER35

1.85 + SCOPE SUPER35

1.85 SUPER35

2.35 + SUPER35

USER 35 US 23/1 -2 1/20/98 19:46 Page 88

TECHNICAL SPECIFICATIONS

USER 35 US 23/1 -2 1/20/98 19:46 Page 89

USER 35 US 23/1 -2 1/20/98 19:46 Page 90

WORLDWIDE SUPPORT

USER 35 US 23/1 -2 1/20/98 19:46 Page 91

Australia

LEMAC FILM

277 Highett Street Tel : 61 39 429 8588

Victoria 3121 RICHMOND Fax : 61 39 428 3336

Contact: John Bowring

Belgium

COLOR BY DEJONGHE

Diskmuidekaai 4 Tel : 32 5635 0710

B 8500 KORTRIJE Fax : 32 5635 0780

Contact: Dirk Dejonghe

Brazil

HAGA DE

Rua Sergipe 475 cj. 711 Tel : 55 11 258 5752

Cep 01234-001 SAO PAULO Fax : 55 11 258 5752

Contact: Hugo Kovenski

Canada

Cineasst

332 Dupont street Tel : 416 975 2565

M5R 1V9 Toronto Ontario Fax : 416 975 0895

Contact: Pierre Careau

Denmark

ZIMMERMANNFILM & VIDEO TEKNIK

H.C. Orstedsvej 11 B Tel : 45 3325 8525

DK-1879 Frederiksberg C Fax : 45 3325 8523

Contact: Peter Zimmermann

France

AATON S.A.

2 rue de la Paix BP 3002 Tel : 33 (0) 4 7642 9550

38001 Grenoble Cedex Fax : 33 (0) 4 7651 3491

Contact: Danys Bruyère

USER 35 US 23/1 -2 1/20/98 19:46 Page 92

Germany

DEDO WEIGERT FILM

Karl-Weinmair Strasse 10 Tel : 49 89 356 1601

80807 Munich 40 Fax : 49 89 356 6086

Contact: Victoria Johnson

Great Britain

ICE FILM EQUIPMENT

156 Caledonian Road Tel : 44 171 278 0908

N1 9UU London Fax : 44 171 278 4552

Contact: Peter Bryant

Greece

CHASSAPIS

Olymbou St 55 Tel : 30 1 682 1237

152 34 HALANDRI ATHEN Fax : 30 1 684 6584

Contact: Stravos Chassapis

Holland

HOLLAND EQUIPMENT

Van Marwijk Kooystraat 14 Tel : 31 20 694 35 75

1096 BR Amsterdam Fax : 31 20 668 53 81

Contact: Nico Van Den Boogard

Japan

SUZUKI ENTERPRISE

Dai Ichi Nichiya Bldg 2F

Hatagaya Shibuya-Ku Tel : 81 353 50 8235

151 Tokyo Fax : 81 353 50 8237

Contact: Sadaaki Suzuki

WORLDWIDE SUPPORT

USER 35 US 23/1 -2 1/20/98 19:46 Page 93

Malaysia

TRANS ASIAN & AMERICAN FILMS & CINEMA

7, Tingkat Taman Ipoh - 10 Tel : 605 545 7113

31400 Ipoh, Perak Fax : 605 547 7873

Contact: Alexander Sange

Portugal

ANIMATOGRAFO

Rua da Rosa 252 Tel : 351 1347 4593

1250 LISBOA Fax : 351 1347 3252

Contact: Antonio Cunha Telles

Spain

EPC

Nieremberg 29 Tel : 34 1 519 4221

28002 MADRID Fax : 34 1 519 2198

Contact: Oscar Perez

Sweden

RE FILM SERVICE AB

Strindbergsgatan 58 Tel : 46 8 662 25 35

115 53 STOCKHOLM Fax : 46 8 662 25 03

Contact: Lars Wedberg

Switzerland

GH team

15 Chemin de la Rochette Tel : 41 22 733 06 38

CH-1202 Geneva Fax : 41 22 734 44 89

Contact: Georges Hofer

USA

AbelCine Tech / LA

4110 West Magnolia Blvd Tel : 1 (818) 972 9078

Burbank, CA 91505 Fax : 1 (818) 972 2673

Contact: Rich Abel

USER 35 US 23/1 -2 1/20/98 19:46 Page 94

AbelCine Tech / NY

66 Willow Avenue Tel : 1 718 273 8108

NY 10305 Staten Island Fax : 1 718 273 8137

Contact: Peter Abel

WORLDWIDE SUPPORT

USER 35 US 23/1 -2 1/20/98 19:46 Page 95

USER 35 US 23/1 -2 1/20/98 19:46 Page 96

INDEX

USER 35 US 23/1 -2 1/20/98 19:46 Page 97

3-Perf 2.6, 7, 7.1, 7.2, 9.1

AatonCode 1.2, 1.5, 2.7.2, 2.9.3, 2.9.4, 2.11.3, 8, 8.1,

8.3, 8.4, 8.5, 8.5.1, 8.5.2, 9.1

Amph9 1.4, 2.8.3, 2.11.2, 9.1, 9.2

Aperture opening 1.2, 2.2.8, 2.9.3, 3.2.2, 5.2.3

ArriPL 2.1.1, 9.1

ASA 1.2, 1.3, 2.9.4, 8.1, 8.4.1, 8.7.2

Battery 1.2, 1.3, 1.4, 2.3.2, 2.7, 2.7.1, 2.7.2, 2.7.3, 2.9.5,

2.9.12, 2.9.13, 2.10.4, 8.2, 8.4.1, 8.4.2, 8.6, 9.1

Carrying handle 1.3, 2.2.4, 2.2.5, 4.5, 4.5.2, 6.2.2

Claw 1.4, 2.3.1, 2.4, 2.4.1, 3.2.1, 4.7.1, 5.2.3, 9.1

Cleaning 2.2.8, 5, 8.7.1

Cold weather 4.7.1

Diopter set ring 1.1, 2.2.4

Empty 1.5, 3.3.1

Eyepiece 1.1, 1.4, 2.2.1, 2.2.2, 2.2.4, 2.2.5, 5.3.2, 5.3.3

Feet or meters 3.3.1, 9.1

Flicker 2.1.1, 2.11.3

Footage 1.2, 1.5, 2.9.2, 2.9.10, 2.9.11, 2.9.13, 3.3.1, 9.1

Friction adjusting ring 1.1, 2.2.3

Front rods 1.1, 4.11, 4.4

Gate plate 3.2.1

GMT1 8.6

Intervalometer 2.8.4, 4.2.3

Jog wheel 1.2, 2.81, 2.9, 2.94, 2.9.7, 9.2

Keycode 2.11, 8.1

Keylink 8.1

LCD Control Panel 1.2, 1.5, 2.8.1, 2.8.3, 2.9, 2.9.1,

2.9.3, 2.9.12

LEDs 5.2.3, 8.7.1

Lemo2 1.4, 2.8.3, 4.2, 4.2.1, 9.2

Lemo5 1.2, 2.9.3, 8.4.1, 8.4.2, 8.5.1

Lemo6 1.4, 2.8.3, 2.11.2, 4.21, 9.2

Lemo8 1.4, 2.8.3, 4.2.1

Lens 1.1, 2.1, 2.11, 2.12, 2.2.4, 2.2.9, 2.5.3, 4.12, 4.6,

5.1, 5.12, 6.1, 6.2.3, 9.1

Lo Batt 1.5, 2.10.4

Lo Spd 2.10.5

Loading the magazine 3.3, 3.3.2

Loop 1.5, 2.4.1, 2.8.3, 3.3.3

Mag release lever 1.4

Magazine 1.2, 1.3, 1.4, 1.5, 2.6, 2.6.1, 2.6.2, 2.9.6,

2.11.3, 3, 4.6, 4.7.1, 5.4, 8.7.2, 9.1

Magnetic wheel 1.2, 3.1, 3.3.3

Meters or feet 3.3.1, 9.1

Mirror Shutter 1.2, 2.2.8, 2.3, 5.3.1

Nikon 2.11, 2.5.5, 9.1

Noise 2.4.1, 2.8.2, 3.1, 3.3.1, 9.1

OriginCplus 2.9.3, 8.3, 8.4.1, 8.5, 8.5.1, 8.5.2, 8.6

Panavision 2.1.1, 2.5.5, 9.1

Picture plate 3.2.2

Pitch 1.2, 2.4.1

Power 2.7, 2.7.3, 2.8, 2.9.5, 2.11.2, 9.1

Pressure Plates 3.2, 5.4.2

Pulldown claw 1.4, 2.3.1, 2.4, 2.4.1, 3.2.1, 4.7.1, 5.2.3,

9.1

Run/Test switch 1.3, 1.4, 2.8.3, 2.9.4

Scratch 1.5

Set Mode 1.5, 2.92

Show Mode 1.5, 2.92

Spacer 2.5.2, 2.5.3, 4.2.3

Speed 1.5, 2.8.1, 2.8.2, 2.9.1, 2.9.7, 2.9.8, 2.9.9, 2.10.5,

2.11.3, 8.1, 9.1

Super35 6, 9.3

Tape measure stud 4.5.3

Technical Specifications, 9.1

Timecode 2.9.3, 2.9.4, 5.23, 8

Transport 3.1, 3.2, 4.6

Unadjust 1.5, 2.9.14

Video assist 2.11, 6.2.4, 9.1

Viewfinder 1.1, 2.2.1, 2.2.3, 2.2.4, 2.10, 5.3, 5.3.2,

6.2.2

Viewing screen 1.3, 2.2.7, 2.2.8, 2.2.9, 2.5.4, 2.11.3,

5.3.1, 6.2.1, 6.2.2, 6.2.3

Vitc lines 2.11.1, 8.1, 9.1

Warnings 1.5, 2.9.14, 5.2.3, 9.1

Weight 2.2.3, 9.1

Wooden Handgrip 1.1, 2.8.3, 4.2, 4.4

Worldwide Support 10

XLR4 1.2, 2.7.2, 2.7.3, 9.2

USER 35 US 23/1 -2 1/20/98 19:46 Page 98

INDEX

USER 35 US 23/1 -2 1/20/98 19:46 Page 99

100

USER 35 US 23/1 -2 1/20/98 19:46 Page 100

101

INDEX

USER 35 US 23/1 -2 1/20/98 19:46 Page 101

Aaton 35 Iii Users Guide USER US 23/1 2

Aaton 35mm Camera Aaton 35mm Camera

35-III - User’s Guide 35_III_en Free User Guide for Aaton Camcorder, Manual

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