Aion
Routing Panel

Aion ingests a single timecode source and distributes it to up to three independent destinations. Each output can be configured with its own frame rate, offset, and latency compensation, making it ideal for multi-protocol facilities.

SOURCE CONFIGURATION

Type Select the incoming timecode source (Elapsed Time = Aion’s own clock; External = LTC, MIDI, ArtNet, PTP/RTC, IRIG-A, IRIG-B, or UDP from network/hardware)

Port Specify which port/channel receives the source (For serial sources like LTC/IRIG; leave blank for network sources)

Framerate Frame rate of the incoming source (Select “Source” to auto-detect, or manually specify: 23.976, 24, 25, 29.97, 30, etc. – must match the actual incoming rate for accuracy)

Offset Time Shift the incoming timecode to a logical workflow position (Broadcast tradition: content rarely starts at 00:00:00:00. Instead, space is reserved for slates, countdowns, and test signals. Common convention: offset +01:00:00:00 puts actual program at 01:00:00:00. Multi-segment shows offset each act to a different hour (Act 1 at 01:00, Act 2 at 02:00, etc.). Time zones: offset by hours to align with regional
broadcast schedules. This source offset affects all three destination outputs.

NEGATIVE VALUES: Use negative offsets to pull timecode EARLIER.
Example: incoming timecode is 05:30:00:00 but you want outputs to show 04:30:00:00, use offset -01:00:00:00. Useful for compensating for source delays or aligning with production schedules that start earlier in the day)

Duration Set a known event duration to enable countdown mode (Example: 01:30:00:00 for a 90-minute live stream. When set, a toggle button appears in the UI to switch between elapsed time and countdown.
Leave at 00:00:00:00 to disable countdown mode)

DESTINATION CONFIGURATION

Aion can simultaneously output to three different destinations, each with independent settings.

Type Select output protocol for this destination (NONE = disabled; LTC, MIDI, ArtNet, IRIG-A, IRIG-B, UDP)

User Bits (LTC only) Inject metadata into the LTC stream (LTC: User Bits field holds 8 hex digits for reel ID, production metadata, or tape identification; ArtNet/UDP: enter destination IP or broadcast address like 255.255.255.255 for facility-wide distribution)

Port Network port or MIDI channel for this output (ArtNet standard is 6454; MIDI uses ports 0-15; UDP uses custom ports)

Framerate Frame rate for this specific output (Auto = use source frame rate; or select 23.976, 24, 25, 29.97, 30, etc. Independent frame rate conversion allows adaptation to different workflows – e.g., receive 29.97 from PTP master but output 25fps to PAL devices)

Offset Time Apply per-destination workflow positioning (independent of source offset)
Stacks with source offset for total adjustment. Use cases: different devices expecting different time zones, per-output timecode conventions, or device-specific timing adjustments. Source offset applied first,
then destination offset.

NEGATIVE VALUES: Use negative offsets to pull timecode EARLIER for this destination only. Examples: remote client needs 5 seconds earlier start, or a specific device has inherent delay that needs compensation. 
Example: source offset +01:00:00:00, destination offset -00:00:05:00 results in 00:59:55:00 output for just this destination)

Latency Adjustment Compensate for network or equipment processing delays (Enter value, then toggle between “frm” (frames) or “ms” (milliseconds).

FRAME-BASED: convenient for SMPTE sources (e.g., 5 frames = one field delay). MILLISECOND-BASED: convenient for network sources like PTP/IRIG.

CALCULATION NOTE: Frame-based adjustments are calculated relative to the destination's frame rate. If destination is set to "Auto", frames are calculated using the source frame rate instead.

NEGATIVE VALUES: Use negative latency to ADVANCE timecode delivery if a device needs timecode to arrive early (e.g., -50ms pulls timecode 50ms ahead). Typical use: some TSL displays or graphics systems need timecode 50-100ms before actual playout. Use negative values to pre-compensate for this lead time)

ROUTING EXAMPLES

Example 1: Broadcast with Standard Workflow Positioning
Source: Internal timecode, offset +01:00:00:00 (broadcast convention: program starts at hour 1)

• First 3600 frames reserved for slate, countdown, color bars
• Actual program content begins at 01:00:00:00
  Destination 1: LTC to broadcast center at 01:00:00:00 start
  Destination 2: ArtNet to graphics systems (also 01:00:00:00)
  Destination 3: MIDI to audio cues

Example 2: Multi-Act Live Production
Source: PTP time, no offset
Act 1 LTC output: offset +01:00:00:00 (Act 1 runs 01:00:00:00 – 01:30:00:00)
Act 2 LTC output: offset +02:00:00:00 (Act 2 runs 02:00:00:00 – 02:45:00:00)
Act 3 LTC output: offset +03:00:00:00 (Act 3 runs 03:00:00:00 – 03:15:00:00)
Each cue system is configured to trigger at its respective hour mark

Example 3: Broadcast to Multiple Time Zones
Source: UTC master clock
Destination 1: US Eastern broadcast center, offset -05:00:00:00 (EST)
Destination 2: UK broadcast center, offset +00:00:00:00 (GMT)
Destination 3: Asia Pacific, offset +09:00:00:00 (JST)

Example 4: Advanced Negative Offsets and Latency Compensation
Source: Incoming LTC at 10:45:30:00, but you want 10:00:00:00 as base

• Use source offset -00:45:30:00 to pull timecode back 45.5 seconds

Destination 1: TSL UMD display with 100ms of internal processing

• Offset time: none (use source offset)
• Latency adjustment: -100ms (pulls timecode 100ms early for TSL to display on time)

Destination 2: Remote graphics system 5000km away with occasional network jitter

• Offset time: -00:00:00:05 (negative 5 frames = ~167ms earlier)
• Latency adjustment: +200ms (adds back network compensation in milliseconds)
• Net result: timecode arrives with pre-emptive lead time for graphics pipeline

Destination 3: Local recorder with inherent 2-frame delay in SDI equipment

• Offset time: none
• Latency adjustment: -2 frm (negative 2 frames advances to compensate for equipment lag)

PROFESSIONAL NOTES

• Frame Rate Adaptation: Each destination’s independent frame rate makes Aion a universal converter – master at any rate, distribute at any other rate without external tools
• Latency Stacking: Source offset + Destination offset stacks additively. Plan your offsets carefully to avoid compounding delays. Example: source +01:00:00:00 + destination -00:00:05:00 = 00:59:55:00 final output
• Negative Values: Both Offset Time and Latency Adjustment support negative values to pull timecode EARLIER. Use negative offsets to compensate for source delays or provide lead time to downstream devices that need timecode before actual playout
• Lead-Time Compensation: Graphics systems, TSL displays, and automation sometimes need timecode 50-200ms early. Use negative latency adjustment (-50ms to -200ms) to pre-deliver
  timecode before the device needs it. This prevents sync failures when pipelines have processing delays
• Offset vs Latency: Offset Time changes WHEN the timecode appears (workflow positioning), while Latency Adjustment compensates for TRANSIT DELAY (network, equipment processing). Use both together for precise timing
• Dual-Network Strategy: Use your two Ethernet ports to separate timing (Port 1) from distribution (Port 2) by configuring ArtNet/UDP destinations on different network interfaces