Industry professionals can now be trained by Codex Digital to meet the increasing demands for file-based workflows on productions worldwide. These courses will equip you with the knowledge and expertise to operate Codex systems either on-set, near-set, or as the bridge between production and post production.

With a large number of productions choosing Codex for the advanced features and highly flexible workflow, being trained to use our systems will provide you with valuable skills for the digital motion picture and television industries. These training sessions can also provide an opportunity to connect with other professionals involved in the industry.

Codex Digital is rolling out our new training programmes in London and Los Angeles. For more information, please contact training@codexdigital.com.

Three of the first movies to be shot with a combination of ARRI Alexa cameras and Codex recorders opened in theaters in the US in October.

In Time, starring Justin Timberlake and shot by acclaimed cinematographer Roger Deakins, ASC, BSC, was supported by camera rental company Otto Nemenz International. Dailies were provided by Efilm. In Time is featured in the November issue of American Cinematographer.

Anonymous, directed by Roland Emmerich and shot by Anna Foerster, was the first film to be shot with the ARRI Alexa camera. Anonymous is featured in the September issue of American Cinematographer.

Jack and Jill, starring Adam Sandler and shot by Dean Cundey ASC, topped the box office on its opening weekend. Clairmont Camera in Hollywood provided the ARRI Alexa cameras and the Codex recorders.

Real Steel, the new film from DreamWorks and Director Shawn Levy about boxing robots made heavy use of Codex technology as a central part of the filmmaking process. The film’s workflow was developed by Ron Ames and Glenn Derry, who served as associate producer and virtual production supervisor, respectively, and was based in part on techniques they developed while working on Avatar.

The film, which began production in early 2010, was primarily shot with Sony F35 cameras that were tethered via fiber cables to a pair of Codex Digital Labs set up in a truck located off set. The Codex Digital Labs served as a mobile lab for the production and were used to produce color timed dailies, deliverables for review, editorial, visual effects and final grading, and back-up elements. Codex Onboard Recorders were used for scenes shot run-and-gun style.

Along with the ability to produce dailies almost instantly, this workflow delivered a number of significant advantages. The editorial and visual effects teams were able to work with production elements with near-to-final color grades. If a cut changed, the vfx crew could simply drop in the extra frames without rescanning, a significant timesaver. Most significantly, by providing the means to record and preserve complex metadata from the point of capture through delivery, Codex facilitated a line of communication between production and post production departments that previously would have been virtually impossible.

“It provided everyone with a clear understanding of what the director, the cinematographer and other creatives on the set were looking for, and so they were better able to carry their creative vision through to the end,” explains Ames. “It was easy for everyone to know what was expected of them. We were all making the same movie.”

Codex products will be featured on the ARRI (F21) and Band Pro (F40) booths in Hall 11 and also on the Assimilate booth (H11) in Hall 7. IBC will see the European introduction of the new Codex Transfer Drives, previewed at NAB in April, along with the new Codex Transfer Dock (USB or SAS).

Codex is happy to provide training for Local 600 members wherever we can. At the end of July, we held a well-attended training event at ARRI CSC in Secaucus, New Jersey. Click here to see some pictures.

Shot by Chris Menges, ASC/BSC and directed by Stephen Daldry, “Extremely Loud and Incredibly Close” was one of the first films to shoot using ARRIRAW on the Alexa. Cameras and Codex equipment were provided by ARRI CSC and dailies were serviced by Deluxe New York. The movie is scheduled for release in the United States on January 20th 2012.

Codex Onboard Recorders have recently been used to capture ARRIRAW from the ARRI Alexa camera on several independent features. Shot in Georgia, Depression era crime drama “The Wettest County in the World” was directed by John Hillcoat and shot by Benoit Delhomme and is now in post production. Also in post production, “Seeking a Friend for the End of the World”, stars Steve Carell and Keira Knightley and was directed by Lorene Scafaria and shot by Tim Orr. “He Loves Me”, starring Annette Bening has just started shooting in Los Angeles. It is being directed by Jonathan Dayton and Valerie Faris, and shot by Matthew Libatique, ASC.

A Codex ARRIRAW workflow can be cost-effective for independent features because the Codex Digital Lab or Codex Transfer Station for Mac OS X can be used to create all dailies deliverables (ARRIRAW files for the final DI, DPX files for VFX, MXF files for editorial etc.) In the case of “The Wettest County”, a Codex Digital Lab was installed in the cutting rooms and connected directly to the Avids being used for editorial.

Disney’s “Prom”, released in April, was one of the first movies to be shot using ARRI Alexa cameras along with Codex Onboard Recorders. Fotokem’s NextLab provided the dailies support using a Codex Lab. Cinematographer Byron Shah discussed the shooting of “Prom” in the May issue of American Cinematographer.

Following a successful collaboration on the movie “Styria”, shot using ARRIRAW in Hungary at the end of 2010, Codex and Colorfront showcased their dailies workflow at NAB in April 2011. The demonstrations employed Codex’s Transfer Station and Colorfront’s On-Set Dailies, and showed the playback of ARRIRAW files from Codex’s Virtual File System in real time.

This workflow will also be shown at Cinegear 2011 at the Colorfront booth. Cinegear runs June 3^rd and 4^th on the Paramount Studios lot in Hollywood – http://www.cinegearexpo.com/

At the beginning of April, Codex Digital announced that it had reached an agreement with ARRI, the world’s largest manufacturer and distributor of motion picture camera, digital intermediate and lighting equipment, to manufacture a CODEX ARRIRAW recorder for use with ARRI’s popular ALEXA and ARRIFLEX D-21 film-style digital cameras. The new recorder will be marketed both directly and through ARRI’s worldwide reseller network. ARRI and its resellers will also be selling Codex camera mounts, data packs and transfer stations.

Codex equipment is already being used to record ARRIRAW on many feature films including “Extremely Loud and Incredibly Close”, “The Avengers”, “Gravity”, “Rock of Ages” and “Abraham Lincoln: Vampire Hunter”.