Aaton 35-III User's Guide

35-III

User’s Guide

June 97

2

INTRODUCTION

3

The AATON 35-III User Guide

AATON
2 rue de la Paix
BP3002
38000 Grenoble
FRANCE
[phone]
[phone] fax
E-mail: [e-mail]
Web: http://www.aaton.com

(c) June 1997 Aaton / Grenoble , France.

Limitation of Liability

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

4

TABLE OF CONTENT

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

5

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 3 9
Low Battery Indicator 4 0
Low Speed Indicator 4 0

2.11 Video Assist 40

The CD56 Color CCD Assist 41
Installing the Control Unit 41

6

TABLE OF CONTENT

Menu Operations 42

3 THE MAGAZINE

Concept 48
Pressure Plate System 48

The Gate Plate 48
The Picture Plate 48

Loading 4 9

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 5 8

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 6 0
Extreme Conditions 60

Cold Weather 61
Warm Weather 61

7

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 6 5

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

8

TABLE OF CONTENT

8 AATONCODE

8.1 Concept 80

8.2 The Internal Clock 8 0

8.3 OriginC

plus

MasterClock 81

8.4 Initializing AatonCode in the Camera 81

Using the OriginC

plus

- Recommended Method 82

Using an External SMPTE Device 82

8.5 Monitoring and Maintaining AatonCode 83

Monitoring AatonCode with OriginC
Maintaining AatonCode without OriginC

plus

plus

83
83

8.6 GMT1 Smpte Generator 84

8.7 The Camera’s Assistant Duties 8 4

Checking the Diodes 84
Setting the ASA 85

9 TECHNICAL SPECIFICATIONS

List of Specifications 88
Connector - Pin Attributions 89
Viewing Screens 90

9

1

GENERAL OVERVIEW

11

1
2

3
4

5
6

7
8

9

10

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

12

GENERAL OVERVIEW

11

12

13
14

15
16

17
18

19
20

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

13

21

22
23

24
25

26

27
28

29
30

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

14

GENERAL OVERVIEW

31

32
33

35
36

37
38
39
40

34

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

15

1.5 LCD CONTROL PANEL - QUICK REFERENCE

Time speed

Test

VAR

ISO / Batt

SET

SYNC

ISO

Run

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

16

GENERAL OVERVIEW

17

2

THE CAMERA BODY

19

2.1 LENSES

The AATON 35-III’s flexible lens mounting system allows for the use of
a wide variety of 35mm lenses.

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 tech­nician. The combination of
FFD and back focus distance
of a lens directly affects precise
focus and overall image sharp­ness. Make sure these critical
measurements are strictly
upheld. When using an unfa­miliar 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.

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 loc­king ring is firmly set. Make sure the locking ring is tight enough so
that it cannot be inadvertantly unlocked.

20

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 viewfin­der 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

THE CAMERA BODY

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 hea­ting system designed to fight mist. A heating system kit is also avai­lable for the standard eyepiece.

2.2.2 Attaching the Extension Finder

In order to use an extension finder on the AATON35-III, the stan­dard eyepiece must first be removed To remove the eyepiece, locate
the eyepiece lock ring, marked ain the image below. Rotate counter­clockwise until the ring reaches its stop and gently pull off the eye­piece. To install the extension finder, locate the protruding guide

d

c

b

The Pechan Prism

In order to provide a fully
orientable upright image, the
Aaton viewfinder incorporates
a Pechan prism assembly, whi­ch 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 fin­der appears to have shifted
slightly, rotate the finder 360°
and choose the preferred cente­red image.

a

21

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 viewfin­der 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 view­finder. 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 move­ment 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
(C) located on the friction adjusting ring. Hold the eyepiece in pla­ce, 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 eye­piece swivel, rotate the adjusting ring clockwise; to decrease the ten­sion, rotate the adjusting ring counter-clockwise.

22

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 viewfin­der, and loosen the small knurled knob. Look through the viewfin­der, 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

-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 view­finder 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.

THE CAMERA BODY

Checking your viewing
horizon

there is a simple means of
determining whether adjust­ment 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 mar­kings 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 adjust­ment may be necessary.

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

23

screen

post-it

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 dir­tying 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.

24

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 vie­wing 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

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.

THE CAMERA BODY

• 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 insi­de the camera body, you must
first remove the battery. If, by
mistake, the camera starts run­ning while you finger is rota­ting the mirror shutter, the
mechanism of the camera body
could be seriously damaged.

25

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 hand­le. 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.

26

tool guiding hole

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 leng­th 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 "clic­king noise", due to the perf being hit by the claw. Turn the tool
clockwise until you reach a more pleasant noise, like a loud "pur­ring". 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 varia­tion 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.

THE CAMERA BODY

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

27

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 res­ponsible 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 car­ries 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.

28

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

THE CAMERA BODY

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 automatical­ly shorter by 0.3mm than the indicated ones (because of the needed
spacer)

2.6 MAGAZINE

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

The Aaton magazine holds 400ft (122m) of 35mm film, which repre­sents 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 opera­tion should be done without having to force the mag into position.

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 take­up 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 opera­tion. 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

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 repla­cing 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,

THE CAMERA BODY

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

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.

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 top­ping off partially full batteries.
Once every few months,
discharge cells to 8-10V using
a standard discharger to mini­mize 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 sche­dule allows.

• If your batteries will not be
used for long periods of time,
always store them in a cool dry
environment fully charged.

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 came­ra. 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.

32

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 incre­ments, 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

enables the body to run at any speed between 3 and 40 in .001 fra­me increments. A phase adjustment of the variable speed is acces­sible 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 increa­se mechanism wear, increase noise and compromise image registra­tion. Aaton urges to avoid such usage at all cost and will not be res­ponsible 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.

THE CAMERA BODY

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, pro­vides 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

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 acces­sory 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 inter­valometer for single frame operation. Each frame is 1/4 sec exposu­re.

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.

34

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

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 pre­viously, 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 capa­bility of recording AatonCode in-camera time. TimeCode informa­tion is exposed onto the film by optical projection of seven micro­diodes 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 communi­cation, 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 pro­duction ID, then the camera’s equipment #, in that order.

THE CAMERA BODY

2.9.4 ASA Setting

When using AatonCode in the AATON 35-III, the ASA(ISO) set­ting must be adjusted to the exposure index of the film stock being

35

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 before­hand 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 chan­ged when the camera is run­ning. 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.

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 sour­ce. Notice that if the camera is running and button Iso/Batt is pres­sed, 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 selec­tion of any .001 incremented crystal speed between 3.000 and

40.000 fps via the jog.

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 cal­culated 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

THE CAMERA BODY

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.

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 selec­ted.
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.

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 TCXOthen uses default frequency adjustment, insuring a
TimeCoding precision of 10-4instead 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.

38

2.10.1 Position and Meaning of the Diodes

• Two yellow diodes, placed on both right and left sides of the came­ra 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.

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 came­ra’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.

THE CAMERA BODY

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

39

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 syn­chonization and checksum bits
are inserted.

• Third line is the audio time­code line, i.e. all the timecode
information of the AatonCode
is inserted here.

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

40

necessary, clean this surface with lens fluid applied with a coton Q­tip. 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 35­III. 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 posi­tion. 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.

THE CAMERA BODY

• 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 bet­ween 3200K (tungstein) and 5600K (daylight).

• Date

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

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 fra­me, 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 adjust­ment. 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 Equip­ment 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 charac­ters to be inserted. Choose 0 for edged characters, 1 for standard
characters, and 2 for bold characters.

• Technical

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.

THE CAMERA BODY

43

3

THE MAGAZINE

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 fil­ming.
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 sys­tem decreases noise and power consumption, and prevents mechani­cal 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.

46

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 stea­dy at the point of exposure. Proper setting and functioning of the
picture plate assures the precise focus of each image.

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.

THE MAGAZINE

3.3.2 Loading, in the Dark

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 gui­ding 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

take up core

sprocket

sprocket pinch roller

48

feed core

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 MAGAZINE

the fim, you need to enlarge the loop. To do so, push the disk mar­ked "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 coun­terclockwise. The wheel should turn smoothly as the film winds on

49

the take-up core indicating that the magazine has been correctly loa­ded.

•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 neces­sary and reinstall the magazine on the camera body.

50

THE MAGAZINE

51

4

THE AATON SYSTEM

53

4.1 CAMERA CONFIGURATIONS

The AATON 35-III is designed to be easily converted between the follo­wing 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 manufactu­rers’ mattebox and follow focus system.
Utilizing the front rod system allows for quick conversion from tri­pod to shoulder operating modes without the need for reconfigura­tion.
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 bet­ween tripod and handheld modes is necessary.

54

4.1.2 Sliding Bridgeplate

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, Chros­ziel 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.

THE AATON SYSTEM

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 hand­grip, 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.

55

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 hand­grip 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 com­fort or clearance in certain studio rig configurations, this can be
achieved with coupler extenders, spacers and intermediate arms whi­ch utilize the star plate system for adjustment. Ask your agent for a
configuration that meets your needs

4.3 TRIPOD USE

56

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

additional padding for handheld operation. The wooden handgrip is
attached to the front rod coupler at a slight angle to bring the opera­tor’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 acco­modate 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.

THE AATON SYSTEM

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 assis­tant’s tape measure around it; the hook holds the tape measure zero
point precisely at the film plane.

4.6 TRANSPORT

57

One often overlooked, yet vital factor in the proper functioning and lon­gevity of your camera equipment is your transportation practices. A few
good shipping habits can avert potential damage caused by careless mes­senger services and airport handling.

When shipping and carrying your equipment, it is always good
practice to break down the package to its basic components whene­ver possible. Ship the body, mags and batteries unattached and indi­vidually 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 ultra­critical back focus of a lens and flange focal distance of a camera if
transported as one.
Make certain there is ample padding between individual compo­nents in a case and from the case’s outer edges. Shipping case manu­facturers suggest a minimum of 1 1/2’’ padding between high preci­sion 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.

58

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

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 conside­rable 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 ele­ments, 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.

THE AATON SYSTEM

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 dr y cooler, or
in the coolest location available.

59

5

CLEANING

61

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.

5.1 LENS

5.1.1 Lens Elements

The front and rear surface of your lenses should be inspected regu­larly 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 De­Solv-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 Q­tip does not leave any cotton fibers behind.

62

5.2 BODY

5.2.1 Exterior

Keep the external body surface clean using a cotton cloth with alco­hol 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

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-pur­pose cleaner applied to a Q-tip.

CLEANING

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. Ins­pect 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 view­finder. If large particles of dirt
must be removed, do so using
an air syringe. Never use can­ned 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 techni­cian to be cleaned.

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 func­tion within the aperture ope­ning, 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.

63

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.

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.

64

5.4.2 Pressure Plates

The magazine pressure plates should be cleaned of dirt and film par­ticles by means of a dust-free cotton or chamois cloth. After clea­ning, 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

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

65

6

SUPER35

67

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 manu­facturers had to shift the optical axis of all their cameras and projec­tors 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 for­mats, 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).

68

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

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 ins­tead 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.

SUPER35

6.2.2 Shifting the Viewfinder

The optical axis of the viewfinder need to be set to the optical cen­ter 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

69

(until it reaches its stop), and then tighten back the screws. To set
the viewfinder to STANDARD35, shift the handle toward the DIS­PLAY 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 unex­pected ones would show up (6% of the image width -1.27/22mm­each 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 tita­nium seat, it is thus not necessary to realign its optical axis, but the
focus must to be readjusted. Please read Chapter II, video-assist sec­tion.

70

SUPER35

71

7

3-PERF FORMAT

73

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 perfo­rations high. Why should we keep a huge amount of unused emul­sion between two images (i.e. why should we keep filming in 35mm
4-perf)?

74

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,

with the sames viewing system, magazines, and lens as on a standard
AATON 35-III (4-Perf). For one who already owns a AATON 35­III, 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 whi­ch was aquired for his standard 35-III.

3-PERF FORMAT

75

8

AATONCODE

77

8.1 CONCEPT

AatonCode, Aaton’s proprietary in-camera timecode system, is recor­ded in the AATON 35-III on the edge of the film between the per­forations 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 came­ra 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 corre­late 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 transfer­red tape, and also on floppy disk for direct use with non linear edi­ting systems, audio workstations and logging programs.

78

8.2 THE INTERNAL CLOCK

The AATON 35-III contains an internal clock designed to be initia­lized from an outside source and keep accurate time (within a half a

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.

AATON CODE

8.3 ORIGINC

For the most efficient and foolproof means of working with Aaton­Code, it is highly recommended that an Aaton device called Ori­ginCplus 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 accu­rate timecode for slates and inserters, or to record timecode on one
audio channel of a non timecode audio recorder.

PLUS

MASTERCLOCK

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 Ori­ginCplus, 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.

79

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 devi­ce.

8.5 MONITORING AND MAINTAINING

80

AAT ONCODE

After initialization, the OriginCplus should be left on during produc­tion 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; eve­ry 2-3 hours or so is recommended.

8.5.1 Monitoring AatonCode with OriginCplus

Assuming that the OriginCplus has been left on during the produc­tion, 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 dis­play 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 time­code in a SMPTE device, press *0 on the OriginCplus.

AATON CODE

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 recommen­ded 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

81

Because more and more cineasts are using sound recorders not speci­fically designed for cinema, which means with no integrated timeco­de, 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 conti­nuously 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 bet­ween 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.

82

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 rota­te the shutter 180°, but the seven timecode LEDs in the gate will
illuminate in a three/four sequence. Use this pattern to occasionaly

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

83

9

TECHNICAL SPECIFIC ATIONS

85

9.1 TECHNICAL SPECIFICATIONS

Weight 7kg (16 lbs) with 400’ load and on-board batter y.
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 stea­diness 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, integra­ted 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.

86

TECHNICAL SPECIFICATIONS

9.2 CONNECTOR - PIN ATTRIBUTIONS

Type Fonctions Diagram Localisation Pin Attributions

2

Lemo2 On/Off/Test Between the 1 Ground

two motors. 2 Start

1

Lemo5 TimeCode Under 1 Ground

Interface jog wheel. 2 Smpte In

5

Lemo6 Power Zoom Above the right 1 -Batt

Lemo8 Speed Above and to 1 -Batt

Controllers the right of 2 TV Sync

1

2

3

2

3

4

5432

32

4

6

5

4

1

8

7

6

5

1

Amph9 Video Sync Above the 1 -Batt

9876

Looking down.

3 ASCII In/Out
4 et 5l Not used

motor. 4 +Batt

6 Start
2, 3 & 5 Not used

the left motor. 3 ASCII In/Out

4 +Batt
5 100 PFF Out
6 Start
7 100 PFF In
8 Ground

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

3

2

jog wheel. 4 +Batt

14

2 et 3 Not used

pin socket

87

1.85

ACAD + TVTRANS + TV safe +1.66

1.85 SUPER35

1.66

1.37 + 1.66 & 1.85 markings

ACAD+TVTRANS+ TV safe + 1.85

ACAD+TVTRANS+ TV safe

SCOPE 2.35

1.85 SUPER35

1.85 + SCOPE SUPER35

2.35 + SUPER35

88

TECHNICAL SPECIFICATIONS

89

10

WORLDWIDE SUPPORT

91

Australia

LEMAC FILM
277 Highett Street Tel : [phone]
Victoria 3121 RICHMOND Fax : [phone]
Contact: John Bowring

Belgium

COLOR BY DEJONGHE
Diskmuidekaai 4 Tel : [phone]
B 8500 KORTRIJE Fax : [phone]
Contact: Dirk Dejonghe

Brazil

HAGA DE
Rua Sergipe 475 cj. 711 Tel : [phone]
Cep 01234-001 SAO PAULO Fax : [phone]
Contact: Hugo Kovenski

Canada

Cineasst
332 Dupont street Tel : [phone]
M5R 1V9 Toronto Ontario Fax : [phone]
Contact: Pierre Careau

92

Denmark

ZIMMERMANNFILM & VIDEO TEKNIK
H.C. Orstedsvej 11 B Tel : [phone]
DK-1879 Frederiksberg C Fax : [phone]
Contact: Peter Zimmermann

France

AATON S.A.
2 rue de la Paix BP 3002 Tel : [phone]
38001 Grenoble Cedex Fax : [phone]
Contact: Danys Bruyère

Germany

DEDO WEIGERT FILM
Karl-Weinmair Strasse 10 Tel : [phone]
80807 Munich 40 Fax : [phone]
Contact: Victoria Johnson

Great Britain

ICE FILM EQUIPMENT
156 Caledonian Road Tel : [phone]
N1 9UU London Fax : [phone]
Contact: Peter Bryant

Greece

CHASSAPIS
Olymbou St 55 Tel : [phone]
152 34 HALANDRI ATHEN Fax : [phone]
Contact: Stravos Chassapis

Holland

HOLLAND EQUIPMENT
Van Marwijk Kooystraat 14 Tel : [phone]
1096 BR Amsterdam Fax : [phone]
Contact: Nico Van Den Boogard

WORLDWIDE SUPPORT

Japan

SUZUKI ENTERPRISE
Dai Ichi Nichiya Bldg 2F
Hatagaya Shibuya-Ku Tel : [phone]
151 Tokyo Fax : [phone]
Contact: Sadaaki Suzuki

93

Malaysia

TRANS ASIAN & AMERICAN FILMS & CINEMA
7, Tingkat Taman Ipoh - 10 Tel : [phone]
31400 Ipoh, Perak Fax : [phone]
Contact: Alexander Sange

Portugal

ANIMATOGRAFO
Rua da Rosa 252 Tel : [phone]
1250 LISBOA Fax : [phone]
Contact: Antonio Cunha Telles

Spain

EPC
Nieremberg 29 Tel : [phone]
28002 MADRID Fax : [phone]
Contact: Oscar Perez

Sweden

RE FILM SERVICE AB
Strindbergsgatan 58 Tel : [phone]
115 53 STOCKHOLM Fax : [phone]
Contact: Lars Wedberg

94

Switzerland

GH team
15 Chemin de la Rochette Tel : [phone]
CH-1202 Geneva Fax : [phone]
Contact: Georges Hofer

USA

AbelCine Tech / LA
4110 West Magnolia Blvd Tel : [phone]
Burbank, CA 91505 Fax : [phone]
Contact: Rich Abel

AbelCine Tech / NY
66 Willow Avenue Tel : [phone]
NY 10305 Staten Island Fax : [phone]
Contact: Peter Abel

WORLDWIDE SUPPORT

95

11

INDEX

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
Footage1.2, 1.5, 2.9.2, 2.9.10, 2.9.11, 2.9.13, 3.3.1, 9.1
Friction adjusting ring1.1, 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 wheel1.2, 2.81, 2.9, 2.94, 2.9.7, 9.2
Keycode 2.11, 8.1
Keylink 8.1
LCD Control Panel1.2, 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 lever1.4
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
Noise2.4.1, 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
Panavision2.1.1, 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 Mode1.5, 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

98

INDEX

99

100