Codex/ArriRAW Combination Gaining Momentum

Posted on Dec 22, 2011 by Alex Fice

On the set of Extremely Loud and Incredibly CloseExtremely Loud and Incredibly Close, director Stephen Daldry’s film slated for a Christmas Day limited release was one of the first major studio production to shoot with the ARRI ALEXA camera in a Codex/ARRIRAW workflow. It was also the first digitally captured film for veteran cinematographer Chris Menges, ASC, BSC.

The workflow used the uncompressed ARRIRAW data output from Arri’s Alexa to the solid state Codex data packs to record the raw camera data. Using the Codex jump-starts the process of preparing dailies, back-up media and post production deliverables. The workflow also provided the means for collecting metadata, including camera settings, notes from the director and DP, and other production information, making it accessible to downstream members of the production and post production team.

1st AC Gregor Tavenner, who had previously worked with ALEXA and Codex technology on the Martin Scorsese film Hugo, described the Codex/ARRIRAW workflow as both a boon to production efficiency and easy to integrate with traditional production practices. “Once you are familiar with the Codex system, it is very easy to use,” Tavenner says. “It is ergonomically designed and robustly built. For the war film World War Z, we carried nine Codex Onboard units across the ocean with great success.”

On Extremely Loud & Incredibly Close when Codex data packs were removed from the ALEXA, a technician reconciled the metadata with the camera reports and recorded backup copies to an on-set RAID. The data packs were then sent to LA’s Deluxe for dailies and deliverables processing. Deluxe also made LTO backups. The data packs were then returned to the set for reuse.


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