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 Latest NewsThis section of the website contains news items about Codex Digital. Please Contact Us for further information on these or any other stories.  Production 2.0- 2 July 2008Following the recent success of Production 2.0 in Los Angeles, the event is coming to Pinewood Studios in July... Codex Digital, in association with Pinewood Studios, Sohonet, Molinare, and The Production Guild of Great Britain, presents... PRODUCTION 2.0 UK - new possibilities from camera to post. PRODUCTION 2.0 UK Wednesday July 2nd 2008 Presentation starts at 3pm Theatre 7 Pinewood Studios SL0 0NH You can register for FREE at www.productiontwozero.com This unmissable, free-of-charge event will reveal how you can...
Neither shaken, nor stirred... - February 2008
Following on from last month's "Top Secret" VFX shoot news item, we can now reveal that no less than eight Codex Digital Recorders were used simultaneously on a highly ambitious and complex VFX sequence for Quantum of Solace, the latest in the James Bond 007 film franchise.Directed by Marc Forster, with DP Roberto Schaefer ASC and consulting VFX cinematographer David Stump ASC, Quantum of Solace will feature a technically remarkable visual effects sequence that involved eight Codex Recorders capturing the raw 4K output from eight shutter-synchronized DALSA Origin® 4K cameras. The use of Codex systems enabled the production to take full advantage of the uncompressed, high-resolution output of the DALSA cameras and to extract the maximum amount of detail from those scenes in post production. The shoot resulted in over 40TB (40,000 Gigabytes!) of data being recorded in a single day. The Codex systems provided instant playback and on-set delivery of files for the VFX department to verify that everything was working ñ from close-up examination of individual uncompressed frames, to rough composites and motion-blur tests. Then the Codex DiskPacks were delivered to sohonet in London for backup, after which the raw 4K files were delivered to effects facility Double Negative in London's Soho for rendering and final compositing. 
The Codex systems were also used on-set to generate HD proxies of every shot, enabling the editorial department to assess which shots would be used in the final effects sequence and making sure that only the necessary shots had to be rendered. As Rob Hummel, president of DALSA Digital Cinema commented, "it was amazing as we watched all eight cameras shooting and pouring data into the Codex units. In total, we recorded over 3.8 Gigabytes of image data every second."Quantum of Solace is scheduled for release on November 7th in the US. Below are photographs of Codex Digital co-founder - and head of Q-Branch - Delwyn Holroyd, along with eight of the Codex Recorders in action!  
Codex wins Vidy Award at NABshow 2008 - April 16th 2008
Videography magazine, published by NewBay Media, announced the Codex Portable as recipient of its Best of Show award at the 2008 National Association of Broadcasters Convention in Las Vegas, USA.These awards recognise outstanding achievement in the advancement of the art and science of video technology. These awards include the Videography Vidy Awards, the longest-running NAB awards program; and the DV Black Diamond Awards, which launched in 2007. "Our teams searched the NAB show floor for products that were truly deserving of recognition," says NewBay Media Broadcast & Video Group Vice President of Sales Eric Trabb. "Recognition with an award at NAB from the Broadcast & Video Group is a strong vote of confidence and admiration from these leading publications." You can read more aboout the Codex Portable by clicking here.  NABshow 2008 - April 14-17th 2008Las Vegas's NABshow 2008 convention saw Codex Digital on not one, but two booths - on the Band Pro stand in the South Hall, we were showing our new Codex Portable alongside cameras such as the Sony F23® in a ëliveí end-to-end workflow, capturing 1080p 4:4:4 and immediately delivering that footage to a range of editing and compositing systems. Meanwhile, in the central hall, we were showing our "Codex: On Location" van, demonstrating a complete digital cinematography workflow, from dual-camera digital HD2K4K acquisition, recording and storage, to editing, colouring and on-set VFX, all from a single Codex Recorder in the back of a van (click image below for a much larger version)!  We would like to thank Arri, Avid, The Camera House and Assimilate for the loan of equipment on the booth and thanks also to everyone who came to see us at NABshow 2008.  Production 2.0 - January 30th 2008On January 30th 2008, Codex Digital held a series of workshop-seminars in London's Soho, entitled Production 2.0 which demonstrated how the world of production and post-production had changed and how new digital cinematography techniques could benefit everyone. In association with Sohonet and The Hat Factory, and with the support of the Production Guild, Directorís Guild and Panavision, this free event demonstrated in front of a live audience how easily production-ready technologies can be combined into an efficient ëworkflowí that liberates the entire production process. To find out more about Codex's Production 2.0 - including details of future events in both Europe and The USA - click the Production 2.0 logo above and visit the Production 2.0 microsite.  Click to download Production 2.0 brochure [5.5MB PDF file]
Latest Codex projects - January 2008 From left to right: 'Speed Racer', 'I Love Sarah Jane', 'Dead Girl' Codex systems have been successfully used on a range of productions ñ from small independent feature films up to $100m Hollywood blockbusters and beyond. They have all enjoyed enormous gains in terms of speed, efficiency and flexibility. Here's just some of the more recent success stories:
As well as various commercials, short films and VFX shoots, Codex has also been used for original material capture and 'digital lab' services on a number of other high-profile projects. These include several stereoscopic 3D features, a number of HD/4K short films and actor/director LeVar Burton's forthcoming feature film Reach For Me released later this year - the first theatrical feature film to be shot and post-produced entirely in 4K, shot to Codex using DALSA Origin cameras. Radio IBC interview with Codex Digital - October 16th 2007
Radio IBC is featuring an audio article about Codex Digital on their website, looking at the workflow and design behind the new Codex Portable recording system.Dan McGraw had heard about the Codex Digital recorders but wasn't sure why they are proving so popular, so he visited the Codex Digital stand at IBC 2007 where he met with the company's Philip Meehan. Philip took Dan through the Codex range and explained their significance, as you'll hear in this 15 minute article. Click here to listen to an MP3 of the interview, or click here to visit the Radio IBC homepage. Codex wins more awards at IBC! - September 19th 2007 For the second year running, the combined editorial team behind TVBEurope and The IBC Daily have chosen Codex Digital as the recipent of their Best of IBC2007 Editors' Awards, this time for the Codex Portable. Their brief was to pick out the most innovative, cleverest new product introductions at the world's electronic marketplace, with an eye for new products that clearly showed the potential to make money, or save money, for end users - rather than clever technology for technology's sake! This award follows on from the IBC2007 What Caught My Eye award, which the Codex Portable also received at the show! Click on the graphic above to view TVBEurope's coverage of this year's awards. Archived NewsClick here for older news stories...
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Speed Racer 
Shot on location in Sydney, Australia, using a Thomson Viper FilmStream camera, Codex was used as a multi-purpose recording, storage, playback and review device. Footage was stored both directly out of the Viper camera as well as from Venom flash packs for untethered shots.
This independent feature - shot in L.A. - had a completely tapeless pipeline. A single Codex system captured the uncompressed widescreen output from a Thomson Viper FilmStream camera, enabling the production to take advantage of the cameraís full dynamic range - particularly important for the numerous low-light scenes.