Codex Production Suite is a fully-featured dailies and archiving system featuring sophisticated tools for colour grading and LUT management, QC, metadata editing and audio sync so you can manage and create all your deliverables within one unified system. Transcode to all the formats you need to deliver, faster than real-time, even with an input LUT, CDL and a 3D LUT.
One workflow, no matter what camera.
Most importantly, Codex safeguards your most valuable asset, your digital negative.
Production Suite is available on Mac Pro and MacBook Pro as well as Codex’s own hardware – the XL-Series Vault. Ideal for DITs, it has all the tools needed to produce on-set or near-set dailies.
WORKS WITHMacPro/MacBook Pro
S and XL-Series
Non-destructive CDL-based colour grading - create or modify looks and communicate them through to editorial and final colour. 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.
Add Tangent panels for grading.
Metadata checking, fixing and appending – metadata can then be attached to dailies for increased efficiency in post production.
QC tools – flag any issues, make notes and generate a detailed report, with or without thumbnails.
Audio Sync – import WAV files, playback shots in a proxy window and synchronise the audio files to the shots, based on the timecode.
Full ACES colour 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.
Yes, one workflow no matter what the camera. Perhaps the main unit is shooting with ARRI ALEXA XT but a splinter VFX unit is using a RED DRAGON on a MoVI?
Or a stunt unit is using multiple GoPros, alongside an ALEXA XT?If you rely on Codex, this common scenario doesn’t cause any headaches. Designed by people who’ve worked in the trenches of modern movie-making, Codex Production Suite works with most of today’s cameras and media so there’s one unified, secure workflow that ties everything together. And to simplify your colour pipeline, Codex supports ACES (Academy Color Encoding Scheme).
ARRI RAW and ProRes | Canon RAW and XF AVC | Panasonic V-RAW | RED RAW, ProRes, DNxHD | Sony RAW and XAVC | GoPro H.264 | Phantom RAW
For a smaller footprint, ready to travel wherever you need it to be, Codex Production Suite running on a MacBook Pro is an ideal solution.
Just add a Codex CFast 2.0 reader to ingest files from ARRI Amira or Mini, or Canon EOS C300 Mark II and C700 and you have a complete, battle-tested workflow for these formats. It’s an entire dailies system for your laptop. One workflow.
Designed to handle the large amounts of data generated by today’s cameras with ease, the XL-Series is a rack-mounted, networked attached device that’s easy to integrate into an existing near-set or post production infrastructure.
It’s simple to operate and reliable in the toughest conditions. XLs can do heavy lifting for cameras like the ALEXA 65, Panasonic VariCam Pure or RED WEAPON 8K, making the amount of data generated by these cameras easy to handle.
Combine the power of Codex Production Suite to deliver whatever files you need in whatever format you require with the benefits of network storage and the power of GPU-processing and you get a fully-featured toolkit for productions of all sizes.
"With Production Suite, I have everything I need for archiving, review and dailies. It's the ideal solution for the massive amount of data that is being generated on-set today."
Ben Appleton, DIT
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Codex is proud to support so many productions, from blockbuster Academy Award winners, to independent movies, to streaming TV. All Captured on Codex - the indispensable technology of choice.