Codex Digital Delivers Universal Support for Data Cameras

"Codex Digital, specialist in high-resolution media recording systems, is extending the capabilities of its HD 2K 4K recording systems to support the capture of the data output from many leading digital cameras for broadcast and motion picture cinematography.

The Codex Recorder and forthcoming Portable field recorder will interface with the ARRI D-20 in data-mode, unleashing the full potential of this camera. By recording the D-20 in data-mode, Codex extends the camera's capabilities to levels way beyond HD: Codex captures and stores the raw, unprocessed data from the camera's 4:3 sensor, making maximum use of its 2880 x 2160 resolution and 12-bit bit-depth, with real time unsqueezed playback of anamorphic material. This results in far superior picture resolution than when using the D-20's 1920 x 1080 HD video output, as all the image data captured by the sensor is retained.

Codex also features the ability to demosaic and downsample the Arri D-20's Bayer pattern images in real time. This feature – already used when recording from the DALSA Origin 4K data-mode camera – means that material captured with the D-20 can be viewed and passed onto editorial without the need for lengthy, time-intensive de-Bayering and downconversion. Codex produces on-demand HD proxies for review and editorial via its Virtual File System, whilst storing the raw, unprocessed sensor data from the camera for best-quality processing at the conforming and finishing stage.

Codex already integrates with a huge range of leading digital cinematography cameras, such as Sony's HD series - including the Sony F23 - Panavision Genesis and Thomson Viper FilmStreamTM and will fully-support data-mode recording from cameras such as Vision Research's high-speed Phantom range and Red Digital Cinema's RED ONE as data-mode outputs become available from those devices.

Codex Digital's uncompressed data-recording enables users to record the highest possible resolution and dynamic range that each of these cameras can deliver, then send the captured material, ready for immediate use, directly into the post-production chain. The material is complete with required metadata, in any format required for effects and finishing.

The Codex Recorder can capture well over 1 Gigabyte/sec (8Gigabits/sec) of raw data – up to three times faster than other systems suitable for field use, and enough for completely uncompressed recording of HD or 4K cameras even at higher frame-rates. It also offers dual camera inputs, enabling two cameras to be used either independently for A & B camera shoots, or locked together for applications such as 3D stereoscopic production.

Codex has already streamlined the entire workflow for HD-based productions of every scale from low budget to multi-million dollar productions. For example, principal photography has recently completed on a $200 million Hollywood production, shot in Germany. Connected to six Sony F23 cameras, Codex and its partner Sohonet provided immediate recording, transcoding and storage for every aspect of the production from instant Avid MXF proxies to full-resolution files sent at high-speed to the effects facility in Los Angeles. Each unit was able to monitor, review and generate edited, full-resolution sequences literally overnight, for viewing before the next day's shooting."

Source: Stereoscopy