Since the introduction of the ARRI Alexa camera, there has been a huge interest in recording ARRIRAW with the Codex Recorder. Early projects include "Extremely Loud and Incredibly Close", "World War Z", "Gravity and "The Avengers". The Alexa/Codex/ARRIRAW combination has now been used on over 100 feature films around the world.
On a medium budget ARRIRAW feature film around two to three hours of material would be shot per day. If possible, although two channels of ARRIRAW can be recorded to one Codex ARRIRAW Plus Recorder, one recorder should be used for each camera. Each recorder should have three or four Codex datapacks associated with it. These datapacks could be 256 GB (25 minutes record time) or 512 GB (50 minutes record time). The debayered output of the Codex can be fed to a monitor for a gate check - the Codex recorder makes it easy to check the last shot recorded by pushing just one button.
Datapacks are delivered throughout the day's production to a near-set environment equipped with a Codex Vault S Process and Archive. The datapacks are loaded onto the Vault and immediately cloned to two Codex Transfer Drives. All metadata is verified and amended or corrected if necessary. The camera report is checked against the recorded shots and circle takes are marked. At the beginning of production, the Codex Virtual File System on the Vault was set up to create Avid MXF files for editorial, ARI files for archive to LTO-5 tape and DPX files for visual effects. This setup can be locked so that it cannot be altered during production.
Metadata from the camera is recorded along with the image files. This includes camera settings - white balance and exposure - but can also include other metadata like lens information that can be used later on in visual effects.
All deliverables can have up to 5 look-up tables (LUTs) applied. These can be static or dynamic. For example, a Truelight system from Filmlight could be used on set to create looks. These looks can be recorded on the Codex onboard recorder as metadata or can be applied at the Vault. For the Avid MXF files for editorial, LUTs are burned in so that the look that the director and cinematographer have created is carried through. The DPX files have no LUT burned in, but do have the CDL values carried as metadata in the headers. For archiving, the Codex Vault makes two separate but identical archives of the ARI files to LTO-5 tape. These can either be an LTFS archive or a TAR archive.
Approximately 30 minutes after production wraps for the day, the director and crew can view dailies, editorial has their MXF files and the ARI files are being written to tape.