CODEX DIGITAL DELIVERS UNIVERSAL SUPPORT FOR DATA
CAMERAS
September 17, 2007
Source: Codex Digital
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 TM 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.
“Essentially, all you need to do is
connect any camera to the Codex Recorder via a range of interfaces,
and it will then capture whatever resolution and frame rate
you choose to throw at it,” said Paul Bamborough, co-founder
of Codex Digital. “The fact that Codex can then also
deliver immediate real-time versions of the material being
shot, will be a great advantage to producers choosing to shoot
at high-resolution.”
Codex already integrates with a huge range
of leading digital cinematography cameras, such as Sony’s
HD series - including the Sony F23 - Panavision GenesisTM
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.
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