Design a Look on Set & Apply It in Post with the Streamlined Codex Production Suite
Codex has made a name for themselves by being the technology used in high-end cameras like the ARRI Alexa and Panasonic VariCam, but at NAB they gave us a preview of their new live color control software.
This software allows you to make on-set decisions about the image's color by controlling the output from their cameras, which then, once the footage has been recorded, can be applied in the Codex Production Suite. So, essentially you can decide upon a look while on set and be able to transfer those decisions via metadata to post with Codex's new software. It seems like a great tool for DITs, which is set at $1000.
Here are the key features of the Codex Production Suite:
- Non-destructive CDL-based color grading — create or modify looks and communicate them through to editorial and final color. CDLs and LUTs can be imported and processed so that externally created "looks" can be applied, either overall or on a shot by shot basis. These "looks can be baked into the editorial dailies or appended in the metadata information for other deliverables. Dailies can be viewed as the cinematographer intends them to be seen.
- Integration with Codex Live for a color pipeline from camera through to deliverables and beyond
- Tangent panels for grading
- Play back camera original material at the original resolution and frame rate, in the correct color space, to a calibrated monitor, with or without LUTs and CDL values applied. Two playheads are available for split-screen or A/B comparisons.
- Scale and crop images with viewfinder data from the camera
- Metadata checking, fixing and appending — metadata con then be attached to dailies for increased efficiency in post production.
- QC tools — flag any issues, make notes and generate a detailed QC report, with or without thumbnails
- Audio Sync — import WAV files, playback shots in a proxy window, and synchronize the audio fils to the shots
- Full ACES color pipeline
- Fast but high quality transcoding to common dailies formats, including Apple ProRes, Avid DNxHD and H.264
- High quality debayering to DPX and Open EXR for VFX deliverables
- Archiving using LTFS with full verification to LTO-6 tape with Codex Archive
- Customizes reports so that the correct information is disseminated to whomever needs it
More of No Film School's coverage from the NAB showroom floor:
Source: Codex Digital