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Page 1 of 2
NEWS RELEASE
CODEX AT THE MOVIES IN SPRING 2014
London, England, April 2, 2014 – Codex (www.codexdigital.com) recording
and workflow technologies were used in the production of a wide range of
Hollywood studio and independent motion pictures on release in the coming
months – from touching teenage romances and dance comedies, to high-octane
racing dramas and VFX-laden sci-fi fantasies.
Codex recording technology has been embraced by Marvel Studios to streamline
the capture-to-post workflow on several high-profile productions, the most recent
of these being Captain America: The Winter Soldier. Cinematographer Trent
Opaloch chose to frame the action in a widescreen anamorphic format, captured
by ARRI Alexa Plus cameras shooting ARRIRAW with a 4:3 sensor and Codex
Onboard S recorders.
“The most important thing for me was to get the best image, with the best
camera system, using a bombproof pipeline from camera to edit,” says Opaloch.
“Marvel has had a great, successful run over a number of pictures with Alexa and
Codex. They’ve invested in Codex Vault. I was very happy with the Alexa/Codex
combination. Technically, I never felt any restrictions.”
For Marvel’s X-Men: Days of Future Past, Newton Thomas Sigel ASC shot native
3D using dual ARRI Alexa M cameras, Codex recorders and TS5 3D rigs from
3ality, with Codex recording up to 60fps in ARRIRAW for each channel.
Regarding the Codex/ARRIRAW workflow, Sigel said, “It helps in terms of colour
correction and image quality, because you’re getting the highest resolution
possible. I like the look of Alexa very much. It’s a kind of softer look, with more
half-tones, more variations of colour, and it’s a better look for this project. In
post, starting from scratch with the ARRIRAW image gives you the greatest
range, and the maximum ability to manipulate and make subtle adjustments.”
In a record-breaking performance, Codex Onboard S recorders were used to
capture intense racing sequences and other material for the DreamWorks SKG
action film Need For Speed. Cinematographer Shane Hurlbut ASC deployed eight
Codex recorders to support more than 35 cameras that were utilised to shoot the
movie, often under the most extreme conditions.
Hurlbut’s camera package included multiple Canon C500s and ARRI Alexas. Prior
to the start of production, Hurlbut conducted tests with the cameras and Codex
recorders to ensure they could stand up to extreme conditions and deliver the
expected results.
Page 2 of 2
“We placed an Onboard S in a car, then drove it around a track at 135mph; it
came through with flying colours,” said Hurlbut. “Codex recorders are tried and
true. They can take the pounding, vibration and speed.”
Hurlbut noted that Codex recorders were also essential to recording high-speed
media with the C500. “Codex recorders are my go-to device for the Canon C500
– without them you can only capture 1080p. 120fps, 72fps, and 48fps were
rolling on every stunt event, and that was for 58 out of the 67-day schedule.”
To capture the moves on dance comedy Cuban Fury (Big Talk/Studio Canal),
cinematographer Dick Pope BSC deployed a trio of ARRI Alexa cameras, using
Cooke S4 lenses, recording ARRIRAW to Codex OnBoard M recorders. The
production also used dual Codex Vault systems as part of streamlined cloning,
QC, LTO-tape archive and deliverables workflow, which enabled material to
rapidly enter editorial and for the data packs to be efficiently recycled.
“Codex Vault was perfect for this production, as it allowed us to remain small
scale,” observed Peter Marsden, Cuban Fury DIT. “Normally on a digital feature,
you have lots of equipment that adds lots of weight to the camera truck, but
all that was reduced to a single, compact machine. We didn’t have the risk of
sending original camera media off-set for processing. It was all done within the
confines of the location. Codex Vault clones the media very quickly and provided
the assurance that it was correct and secure.”
Other movies that harnessed Codex in their camera to post workflows,
and coming soon to cinemas include: Maleficent (Walt Disney Pictures),
cinematographer Dean Semler ACS ASC; The Fault In Our Stars (20th Century
Fox), cinematographer Ben Richardson; Hercules (MGM/Paramount/Spyglass),
cinematographer Dante Spinotti AIC ASC; and Under The Skin (Film4/BFI/Studio
Canal), cinematographer Dan Landin BSC.
About Codex:
Codex high-performance digital workflow tools are employed by independent and
Hollywood motion pictures, high-end TV and commercials productions shooting worldwide.
Designed for filmmakers by filmmakers, the company’s renowned product portfolio
includes easy-to-use recorders and media processing systems that streamline the
transfer of digital files and images from camera through to post production. They also
include leading-edge tools for colour, dailies creation, archiving, review and digital asset
management. Codex is a privately-held company, headquartered in London, UK, with
offices in Los Angeles, Paris, Beijing and Wellington, plus sales partners worldwide. Codex
research and development continues to raise the bar for digital productions, combining the
latest electronics and industrial design with trailblazing toolsets and capabilities for media
and entertainment creation. www.codexdigital.com.
Editor’s Note: The product names and registered trademarks mentioned are each the
property of their respective owners.
Press contact:
Ron Prince
Prince PR
+44 (0) 1225 789 200 begin_of_the_skype_highlighting 
+44 (0) 1225 789 200 FREE end_of_the_skype_highlighting
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