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Codex Production Suite 4.5 is the next evolution of 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.

Download beta software and supporting documents here:


MacPro/MacBook Pro
S and XL-Series


Metadata edit
Sound Sync


Disk-based Backup
Tape-based Backup


Printer Lights
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Vault Platform: 

{CDLData} tag can be used to add human readable CDL values to burn-ins.

Favourite locations can be saved in the File Browser.

Columns in Library List View have been extended, and column headings can be clicked to sort the list.

Library Filter panel supports ‘&’ for filtering, e.g. ShootDate = Day31&Day32.

Library shortcut ‘E’ to enter the Edit Metadata screen.

Edit Metadata shortcut ‘Cmd-A’ to enable ‘Edit All’ mode, and ‘Esc’ shortcut to leave editor.

Library Metadata panel includes Total Size and Total Frames for selected clips.

DNxHR codecs available for MXF deliverables.

Sharpening can be applied to deliverables.

Audio channels can be remapped from source files into deliverables.

ACEScct colourspace can be selected for deliverables.

It is now optional for the Generate task to create an ALE.

The Base Directory of the Generate task can now be set to None.

The Link task can now search for an ALE and apply metadata from this to clips.

Audio files with a sample rate of 96kHz are now supported.

New shortcuts for navigating between Project (Cmd-1), Library (Cmd-2), Storage (Cmd-3), Job Queue (Cmd- 4) and Preferences (Cmd-5).

Vault Review: 

Top menu bar drop down options on OS X (leave fullscreen mode with Cmd-F shortcut to access this).

Keyboard shortcuts can be edited (Ctrl-Option-S opens the Shortcut Editor).

Stills can be imported in JPG format.

Sharpening can be applied to images.

There are now two Look Still panels.

Histogram, Vectorscope, Parade, and Waveform in Meters side panel.

Printer Lights are separated in Colour panel, and all sections of Colour Panel can be collapsed.

Audio waveform can be zoomed vertically.

Copy/paste of looks between clips.

Bank looks and apply them with shortcut keys.

Revert to original or modified colour settings on a clip.

There are now 4 playheads that can be used on the timeline, and shortcuts to move between them.

Clips can be re-ordered on the timeline.

Middle click a clip thumbnail or look still to copy the colour settings.

Shortcut to copy the look from the previous clip to the current clip.

ACEScct colourspace can be selected.

Scene and Take values are shown on thumbnails in the Clip panel.

Supporting material

Codex Production Suite and workflows used around the world:


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

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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.

With Codex Production Suite, 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.

You still won’t need anything else.

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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 amazing 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


Codex is proud to support so many productions, from blockbuster Academy Award winners to independent movies. All Captured on Codex - the indispensable technology of choice.