Your browser is out-of-date!

Update your browser to view this website correctly. Update my browser now


Codex Debuts Tapeless Portable Workflow at Band Pro

North Hollywood, Los Angeles, USA – Codex Digital (

), specialist in high-resolution recording and workflows, will demonstrate how its award-winning Portable and brand new Transfer Station systems can easily combine to deliver today’s most advanced tapeless workflow for digital cinema and broadcast, at Band Pro’s ”One World On HD” open house event, taking place on December 11th 2008 (


The Codex Portable, now shipping, enables tapeless workflow, recording anything from SD video to 4K data. Designed for ‘run and gun’ production around a set or on location, it can capture up to five continuous hours of 4:4:4 cinema footage, or eight hours of HD plus audio and metadata. The Portable employs Codex’s unique Virtual File System (VFS), which allows captured material to be offloaded ‘on-demand’ in a wide range of resolutions and common file formats – such as DPX, MXF, DNxHD, QuickTime, AVI, JPEG, BMP, BWF (WAV) – directly into post production without any intermediate duplication, copying and conversion. Material can also be transferred via the Portable’s robust DiskPack to a Codex Transfer Station.

The Codex Transfer Station, making its world debut, is the companion to the Portable, and is the first in a line of high-speed transfer and back-up products from Codex. It is compact, transportable and can make everything from simple back-up copies to full production deliverables, on-set or on location. It can make archive tapes, copy DiskPacks, and, using the Codex VFS, convert material ready for post production up to five times faster than realtime.

”We make flexible workflows that let you work how you want to work, whether it’s for digital cinema or TV,” said Paul Bamborough, a co-founder of Codex Digital. ”Our Portable offers a no-nonsense approach to digital cinematography, as well as a streamlined camera-to-post workflow. Our Transfer Station eliminates the need for digitising and completes the flow of deliverables for anyone using the Portable. Both systems will go wherever you need them to go and, because of our Virtual File System, make whatever deliverables you require day-by-day. With Codex you get the most flexible, efficient workflows available.”

The Codex Portable is packed with today’s most advanced technology. It is the first lightweight disk recorder to record from SD to 4K, at cinema quality, to provide immediate full-frame playback and review, and to seamlessly deliver material to any post-production workflow in a range of file formats. It can record from Sony, ARRI, Panavision, Panasonic, Thomson, Silicon Imaging and Dalsa cameras amongst others.

As a rugged, self-contained unit, no larger than a toaster, the Portable can be carried on an operator’s shoulder, or secured to dollies and cranes. It gived camera crews the freedom to move around a set, or a location, with enormous recording capacity.

The Portable also creates new opportunities for multi-camera production. Using visually-lossless compression, it has the unique ability to record from two 4:4:4 cameras simultaneously – either independently for A&B camera shoots, or locked together for 3D stereo projects. It is also the first to record from four 4:2:2 cameras simultaneously. Six synchronised Portables can act as a 24-track video, 48-track audio-recorder – enough to record an entire concert, sporting event, or TV drama.

The Transfer Station handles two DiskPacks from the Portable, or the direct data-offload from the Portable. It can also contain one or two LTO4 backup drives. The Transfer Station can copy footage to a diskpack, copy diskpacks, make archive tapes, and quickly convert material to a wide range of file formats for post production – including DPX, MXF, DNxHD, QuickTime, AVI, JPEG, BMP and BWF (WAV) with resizing, colourspace conversion and LUTs.

As with all Codex products, the Transfer Station delivers results much faster than real time, and feeds any post-production workflow – including native-mode files that editing-systems can use with no importing at all. It also delivers full-frame playback and review to video monitors or tape-machines, makes complete tape-playouts from shot-lists, and will even conform simple EDLs for direct viewing or projection.

”One World On HD” takes place on Dec 11th 2008 at Band Pro Film & Digital Inc, 3403 West Pacific Avenue, Burbank, CA.


North Hollywood, Los Angeles, USA – A Codex Recorder recently became the hub of a pioneering workflow demonstration, held jointly by The Society of Motion Picture and Television Engineers (SMPTE) and the American Society of Cinematographers (ASC). Codex showed the assembled attendees, of DPs, camera technicians and post houses, just how fast and efficient the flow of 4K material can be from set to screen.

The Codex Recorder was heart of the on-set workflow for this demonstration. Taking 2880 x 2160 RAW images from an ARRI D-21 camera, the Recorder fed a Truelight OnSet colour management system which DP David Stump, ASC, used to give the scene an ASC CDL ”look.” This ”look” was sent back to the Codex Recorder as metadata, which the Recorder then sent to an Avid Media Composer (as an MXF file in both 16:9 and 4:3 aspect ratios), and as raw data to a Bright Drive TXP, a storage device from Bright. This was all done on the fly.

The Avid then created an edit list with the CDL notes, which it sent to a Baselight colour grading system. The TXP drive was inserted into a Bright Drive and output the material to the Baselight. The Baselight conformed the shots, did a complete debayer and uprezzed them to 4K for output through Sony’s SXRD 4K projection system.

Toby Gallo of Codex told the fascinated attendees that this was the first time that Codex debayered pictures had been delivered E-to-E to a monitor on set. Perhaps an even more amazing testament to the Codex workflow, was that the 90 seconds of 4K material took less than one hour to go through the entire process – from capture to projection.

About Codex Digital:

Codex Digital is headquartered in Soho, London, from where it designs and manufactures high-end digital equipment for motion picture and broadcast production. Products include: award-winning high-resolution media recorders, which capture moving images from the new generation of digital motion picture cameras, at up to 4K uncompressed resolution; plus a range of high-performance media management stations to manage the entire workflow of a digital production from set to post production. With the introduction of the Codex Portable, On-Camera, Transfer & Back Up Stations and Lab systems, the company has set new standards for end-to-end production workflow. For more information please visit