FREQUENTLY ASKED QUESTIONS

• Primary colour correction and digital printer lights with support for ACES and ASC-CDL, allowing looks to be created and communicated to editorial and post production. 
• Import and processing of CDLs and LUTs so that externally created looks can be applied. 
  
• 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 QC report. 
  
• Audio Sync – import WAV files, playback shots in a proxy window, and synchronise the audio files to the shots, based on the timecode. 
• 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.
  
  

• Codex Production Suite can work with material on Codex Capture Drives, or on media from a range of other camera systems. You can also work with files stored on any disk attached to the system. 
  
• Dailies features such as audio sync and primary colour correction are available in Vault Review. 
  
• Transcoding is now performed on GPU for very high performance.
  
• Tasks performed on clips are tracked and can be viewed in the Clip History. 
  
• Support for ACES pipeline.
  
• Integration of ARRI ADA-5 SDK for processing ARRIRAW material.
  
• The VFS can still be used to access files, but now the Generate task can also be used to perform tracked, parallel transcodes.
  
  

• Codex S-Series
• Codex XL-Series
• Mac Pro running OS X 10.10, 10.11.5+, or macOS 10.12 (recommended specification: Processor - 3.7GHz Quad Core Intel Xeon E5, Memory - 32GB 1866MHz DDR3 ECC, Graphics - AMD FirePro D700 6144MB).
• MacBook Pro running OS X 10.10, 10.11.5+, or macOS 10.12 (recommended specification: Processor - 2.8GHz Intel Core i7, Memory - 16GB 1600MHz DDR3, Graphics - NVIDIA GeForce GT 750M 2048MB).
  
  

• OS X 10.10 and 10.11.5+, or macOS 10.12
• Codex S-Series and XL-Series (Linux)
  
  

• ARRI ALEXA/AMIRA/Mini,
• Codex Action Cam
• Canon C500/C300 Mark II
• Panasonic VariCam 35, VariCam Pure
• Sony F65/F55/F5
• RED EPIC/WEAPON
• Phantom Flex4K
• GoPro
  
  

• Codex Capture Drive Dock (Thunderbolt)
• Codex Capture Drive 2.0 Dock (Thunderbolt)
• Codex Capture Drive Dock (USB-3)
• Codex Capture Drive Dock (SAS)
• Codex CFast2.0 Card Reader
• Sony AXS-CR1
• Sony SBAC-US30
• Sony SBAC-UT100
• REDSTATION REDMINI 1.8"
  

For more information see the Pocket Guide 

The Capture Drive contains two very high performance Codex SSDs. For ProRes recording one SSD is used - this delivers the performance to record all frame rates the ALEXA XT is capable of and gives substantial recording time. For ARRIRAW recording both SSDs are required to deliver the speed for the highest frame rates.

Action Cam records up to 60fps from one or two cameras.

The record time to a Capture Drive (480GB user capacity) at 24fps is 107 minutes for a single camera, or 53 minutes for two cameras.

Below is a table of record times at all standard frame rates:

The Action Cam recordings are stored as 1920x1080 12-bit RAW Bayer format. This data represents the RAW output of the camera with no processing occurring before it is recorded.

 The benefit of this format is that it can be easily transcoded to a wide range of file formats for post production using a Codex Media Station.

The Action Cam recorder has an input voltage range of 12-34V, and has a power consumption of 30W during recording and 18W when in standby mode.  

 The ARRI ALEXA RS power outputs can be used to provide a 24V output to the recorder, and with this input voltage the current drawn by the recorder is 1.2A.  If powering other accessories from the cameras RS outputs it is worth noting that they can support a combined load of 2.2A.

 The ARRI ALEXA 12V output is not suitable for powering the Action Cam recorder.

The Action Cam can use information that you input to name clips. 

This is configured in the Setup->Slate menu.  There are presets that can be moved through using the Next button.  These settings can be used if you want to input the Scene, Take, and Roll information:

Shot naming rule: {Scene}-{Take}_{r}

Roll naming rule: {SourceId}{Datapack}

By default the Action Cam software can record CDL Data from a Filmlight Truelight or laptop running Pomfort LiveGrade.

Set up a network connection from the Action Cam recorder to either the Truelight or the laptop running LiveGrade.  The network settings on the recorder can be changed on the Setup->System menu screen if necessary.  Note that after changing the network settings they are only updated when you press the 'Back' button.

In the Setup->System menu scroll to the bottom where there is the CDL Server setting.  In here enter the IP address for the laptop or Truelight box.  When using Pomfort LiveGrade you should also specify the port number after the IP address, e.g. 192.168.1.2:6666

After recording go to the Play->Shots screen and open the Filecard for the recorded shot to confirm that the CDL values have been captured.

To load a Capture Drive lift the drive port cover at the front of the Action Cam recorder. Slide the Capture Drive into the port (with cooling ridges facing upwards) and push so that the connector is fully mated.  Close the drive port cover to complete the loading process. The word “LOADING” will be shown on the screen.  The LED on the Capture Drive will flash blue whilst it loads, and turn off when it finishes loading.

 To unload a Capture Drive lift the drive port cover. The word “UNLOADING” will be shown on the screen and the LED will begin flashing blue.  The Capture Drive will be ejected the word “REMOVE” will be shown on the screen.  The LED will become solid blue, meaning it is safe to pull the Capture Drive out of the drive port.

(WARNING - damage may occur to the Capture Drive if it is removed before the LED is solid blue)

To shutdown the Action Cam press the Power Button on top, and then on the Control Panel UI press the 'Shutdown' button.  Wait until the lights on the Control Panel UI have switched off before disconnecting the power source.

The Action Cam recorder supplies power via the CoaXPress link to each of the Remote Heads. Therefore DO NOT connect from the CXP 1 or CXP 2 connections to a device other than an Action Cam Remote Head, as this may cause damage either to the recorder or to the connected equipment.

The maximum cable length between the Remote Head and Camera Control Recorder is limited by the signal attenuation and the conductor DC resistance of the cable.

Maximum cable length as limited by signal attenuation (rule of thumb):

Max. cable length = 25 dB / attenuation at 1.5 GHz

Maximum cable length as limited by conductor DC resistance (rule of thumb):

Max. cable length = 8 Ω / conductor DC resistance

Example calculation for Belden 1505F Flexible cable:

– Nom. attenuation at 1.5 GHz: 13.300 dB / 100 ft

– Nom. conductor DC resistance: 12.2 Ω / 1000 ft

Max. cable length = 25 dB / (13.300 dB / 100 ft) = ~188 ft (57 m)

Max. cable length = 8 Ω / (12.2 Ω / 1000 ft) = ~656 ft (200 m)

The lower of the two values determines the approximate maximum cable length, in this example 188 ft (57 m). 

The Action Cam sensor outputs 14-bit linear values which are log encoded to 12-bit for transmission to the Action Cam recorder.  The 12-bit conversion means the light hitting each pixel is represented by a value from 0 (total black) to 4095 (maximum white). A maximum white (clipping) level gives a value of 4095, half this amount of light (one stop less) gives 2048, and half this amount of light (one stop less again) gives a value of 1024.

Therefore, if the 14-bit to 12-bit conversion was linear a high proportion of the values would be used for highlights (half of all the values for only the top one stop!), leaving very few values available to capture the detail of mid-tones and shadows. To ensure this is not the case the log encoding to 12-bit is applied to sensor data in a similar manner to cameras such as the ARRI ALEXA. The log encoding means that across the majority of the exposure range there are an equal number of values available for each stop of light level.

This allows details to be preserved in the shadows, with a lossless translation of sensor data into recorded 12-bit values. The scheme is altered towards the extreme highlights where the number of values per stop is reduced. This region contains largely unused information, so the number of values is marginally reduced in comparison to the rest of the exposure range.

Because of the fidelity maintained in the shadows and mid tones, the 12-bit RAW data can be converted to 10-bit RGB for delivery into post with a very high degree of accuracy across the exposure range.

The following values are provided as common reference points:

One or more errors have been detected on the incoming video signal.  This will be evidenced by visible errors appearing as ‘sparkles’ on the recorded data.  Check cabling – it could be damaged, too long, or suffering interference from lighting etc.

There has been a momentary loss in video signal, most often due to bad cables. This error may be preceded by ‘Video CRC errors’ during monitoring. 

 If a ‘Video frame dropped’ error happens during a take the recording will stop. Note that if the camera is sending a record trigger signal to the Onboard then it will start recording again after a frame drop.  Therefore always check your recordings if you see the ‘Video frame dropped’ message.

The timecode and shutters have lost sync, which may result in duplicate/missing timecode values in the shot.

In this case check video and timecode source genlock. 

Timecode can be re-striped using a Codex Media Station if required.

The format settings are not compatible with the loaded Datapack/Capture Drive. This could be because the media has been formatted as RAID-1 (check on the Setup->Storage screen) or because the recorder is mistakenly set to record two cameras (Setup->Video->Channels: 2).

Alternatively, if recording ARRIRAW 4:3 @ 48fps with the Onboard M, only the Datapack 512 (orange stripe) and HS Datapack can record this format.

Recorders are available with different licensed features, allowing recording of different formats. The licences installed on the recorder can be checked on the Setup->Licence screen.

The different licences are:

HD – allows recording of HD formats using the first input channel (Inputs 1/2).

ARRIRAW - allows recording of ARRIRAW formats (limited to 30fps without Multi-Chan licence).

CANONRAW – allows recording of Canon Cinema RAW formats.

Multi-Chan – allows recording of licensed formats using both input channels. This facilitates stereo capture (not for Canon Cinema RAW), ARRIRAW up to 60fps, and Canon Cinema RAW above 30fps (Onboard S only).

Dual-Cam – allows independent control of recording channels using remote Codex UI.
 

Yes, but note that the Onboard can only capture from a single camera for some formats.

*Requires Datapack 512 (orange stripe) or HS Data Pack.  All other Onboard Datapacks record ARRIRAW 4:3 to 30fps.

Record times are shown for 24fps:

The Onboard M and S record the RAW or video data stream sent by cameras to the Codex intermediate format.  For most formats this recording is not compressed, but for some formats a light wavelet compression can be applied.  ARRIRAW is never compressed.

The benefit of the Codex intermediate format is that this can then be easily transcoded to a wide range of file formats for post production using a Codex Media Station.

See the following guides for information:

Recording ARRIRAW 16:9

Recording ARRIRAW 4:3 2D

For more information see the full range of User Guides.

Canon C500 2K HD Quick Settings | Download  (pdf, 360 KB)

Canon C500 4K UHDTV Quick Settings | Download  (pdf, 360 KB)

Using the Onboard recorder, log files can be retrieved using the remote Codex UI.  On the recorder check the software version at the top of the Setup->System screen (e.g. 2013.r1.2108).  Then go to www.codexdigital.com/software and download the matching Codex UI version for Mac or Windows.

Set up a network connection between your computer and the Onboard recorder using the advice in sections 3.3 and 3.4 of this User Guide. 

*Alexa in 3G SL output mode

**Alexa in 3G DL output mode

One or more errors have been detected on the incoming video signal. This will be evidenced by visible errors appearing as ‘sparkles’ on the recorded data. Check cabling – it could be damaged, too long, or suffering interference from lighting etc.

There has been a momentary loss in video signal, most often due to bad cables. This error may be preceded by ‘Video CRC errors’ during monitoring. 

If a ‘Video frame dropped’ error happens during a take the recording will stop. Note that if the camera is sending a record trigger signal to the Onboard then it will start recording again after a frame drop. Therefore always check your recordings if you see the ‘Video frame dropped’ message.

If the timecode and video are from the same source then a ‘Timecode break message’ should not be expected. This could mean incorrect settings, for example the camera is in variframe mode (i.e. sending duplicate frames) but the recorder is not in variframe mode.

If settings are correct then this error message could indicate an anomaly in the signal, and the recording should be checked carefully.

If the timecode and video are from separate sources they can drift over time, and the ‘Timecode break detected’ message will be shown if discontinuity like this is detected. 

The setting for Setup->Timecode->Fix Tc Breaks should always be Off when timecode is being sent from the camera to the Onboard recorder, and On if the timecode is from an unsynchronized external source (LTC).

By default the Onboard software can record CDL Data from a Filmlight CDL Server (Pomfort LiveGrade uses the same protocol so this also works).

Set up a network connection from the Onboard recorder to either the laptop running the CDL Server software, or the Truelight box itself.  If you need to change the network settings on the recorder this is done on the Setup->System menu screen.  Note that after changing the network settings they are only updated when you press the 'Back' button.

In the Setup->System menu scroll to the bottom where there is the CDL Server setting.  In here enter the IP address for the laptop or Truelight box.  When using Pomfort LiveGrade you should also specify the port number after the IP address, e.g. 192.168.1.2:6666

Make a recording and afterwards go into Play->Shots and then open the Filecard for the recorded shot to confirm that the CDL values have been captured.

The Onboard M records to a Datapack. These are available in a range of capacities.

The Onboard S records to a Capture Drive. These are currently available with 480GB capacity.

It is important to eject storage media correctly. Follow these steps to do so:

Loading and unloading a Capture Drive

To load a Capture Drive lift the drive port cover at the front of the Onboard S. Slide the Capture Drive into the port (with cooling ridges facing upwards) and push so that the connector is fully mated. Close the drive port cover to complete the loading process. The word “LOADING” will be shown on the screen. The LED on the Capture Drive will flash blue whilst it loads, and turn off when it finishes loading.

To unload a Capture Drive lift the drive port cover. The word “UNLOADING” will be shown on the screen and the LED will begin flashing blue. The Capture Drive will be ejected the word “REMOVE” will be shown on the screen. The LED will become solid blue, meaning it is safe to pull the Capture Drive out of the drive port.

(WARNING - damage may occur to the Capture Drive if it is removed before the LED is solid blue)

Loading and unloading a Datapack

The Datapack should find a natural position when rested on the Onboard M due to the interlocking design of the loading mechanism. Take care that the Datapack is mated flat with the Onboard M before closing the locking mechanism. Turn the locking lever 180 degrees clockwise to lock the Datapack to the Onboard M. The word “LOADING” will be shown on the screen.

When unloading the Datapack, unlock the lever by approximately 20 degrees to the first position. The word “UNLOADING” will be shown on the screen and the LED will briefly flash red. Wait until the LED on the Datapack becomes solid red, at which point the word “REMOVE” will be shown on the screen, and then fully unlock the lever.

To shut down the Codex Onboard press the Power Button on top, and then on the Control Panel UI press the 'Shutdown' button. Wait until the lights on the Control Panel UI have switched off before disconnecting the power source.

If the Codex Onboard is being powered from the Alexa please ensure you shut down the Codex Onboard before shutting down the camera.  

Yes, shot names and other metadata can be edited after the shot was recorded.  Using the Codex UI you can click a shot thumbnail on the MAIN tab, and then click the Filecard button (pen-and-paper icon) to edit metadata for the shot.  See section 21 of this guide for more details.

Yes, the Codex UI allows you to create a PDF report with a range of useful information for the production such as shot and roll names, duration and size of shots.  Use the REPORT button on the MAIN tab to do this. See section 22 of this guide for more details.

Yes, the Codex UI allows you to create an ALE (Avid Log Exchange) file.  This will contain all metadata for selected shots, and can be imported into an Avid system to give the editor all metadata, as well as providing a list of all shots so they can check they have received all editing files.  Use the CREATE ALE button on the MAIN tab to do this. See sections 19 and 23 of this guide for more details.

Yes, all Codex Media Stations have the ability to create a verified LTO archive.  The Capture Drive Dock can write LTFS tapes (a licence is required), and the Vault can also do this.

LTFS tapes are an open source format that can be read on any system that has the supported drivers installed.

The software can have a licence installed for a Disk and Tape Offloader feature. This feature manages copying files from the Codex VFS to up to 2 disk and 2 tape (LTFS) targets simultaneously, and performs a byte for byte verification immediately after the copy.  It also writes .md5 checksums with the files to allow for verification of subsequent copies, and provides comprehensive logging features for each offload.

See these guides for more details:

Turning your MacPro into a Codex Digital Lab

Section 28 of Recording and Processing ARRIRAW

Yes the Codex software can transcode your recordings to DNxHD .mxf for Avid, or ProRes .mov for Final Cut Pro. The full range of compression codecs are available.

The software provides features for Scaling (e.g. from full resolution to HD for editing), LUT application (including a range of 3D LUTs and CDL Data), and Burn-Ins (for masking, watermarks, and metadata such as shot names, roll names, and timecode).

The software provides a range of RAW and uncompressed file formats such as:

.ari – for ARRIRAW

.rmf – for Canon Cinema RAW

The software supports a wide range of 3D LUTs as well as 1D LUTs and CDL Data, detailed in the LUTs Guide: http://www.codexdigital.com/assets/downloads/CDL,%201D,%20&%203D%20LUTS%20on%20Codex%20r23.09.11.pdf

This could happen for two main reasons:

You have made a clone of the shot so there are two versions currently loaded. The files for the second version of the shot will have the (2) added to prevent duplicate file names. To resolve this you can unload the media containing the second copy of the shot.

The shot contains duplicate timecodes. This could happen because of a drift between timecode and video sources, or because of incorrect settings during recording. You should check if the preceding frame contains different image data, which will confirm the problem is just with the timecode. In this case you can use the FIX TIMECODE feature on the MAIN tab. If the preceding frame appears to be the same then it is possible that the recording was made incorrectly. Investigate with the crew and contact Codex support if further advice is required.

The Onboard recorder does not contain a setting for your project rate.  Therefore, this setting is chosen when you transcode the files for post production.

The Codex VFS allows you to set the timecode rate for each file type, by going to the SETUP->VFS screen, and clicking EDIT to change the settings for each file type.

Note: this is not required for ALEXA XT footage as offspeed timecode is converted to the project rate in-camera.

See the VFS Guide for more information.

Yes, the Onboard recorder is able to capture shots with 2 video channels. These are differentiated by a Channel ID, set in the Setup->Video menu of the recorder.

See this guide for details on recording ARRIRAW 3D: http://www.codexdigital.com/assets/downloads/CodexOnboard_RecordingARRIRAW3D_r05.05.11.pdf

The Media Stations software can then provide the master left and right eye files in separate directories with unique roll metadata. It can also transcode to 3D DNxHD mxf files for editing in Avid.

See this guide for details on the VFS: http://www.codexdigital.com/assets/downloads/Codex_software_UI%20-%20VFS_r30.09.11.pdf

Using the Codex Transfer Station for Mac OS X, go to System Preferences->Codex and use the ‘Generate issue report…’.  This will create a .dbg file that can be sent to Codex Support.

The OFFLOAD option is only shown in the Codex UI when a licence for this feature is installed.

Contact support@codexdigital.com if you would like to add this licence to your system.

The Codex Capture Drive Dock (SAS) comes with all licensed features. The Codex Capture Drive Dock (USB-3) comes with a limited license if it has been purchased from ARRI, only allowing for the copying of ARRIRAW files or ProRes files from a Capture Drive. An upgrade to a fully featured license can be purchased from Codex. 

The Vault Administrator Guide contains comprehensive details on setting up and using the Vault.

This along with other information can be found in the User Guides.

The Vault requires an input voltage of between 20V and 34V. The power required will vary depending on the modules being used. The maximum required is 500W.

Only the included Codex power supply should be used for the Vault when running off mains electricity.

Anton Bauer VCLX batteries are suitable for powering the Vault when mains electricity is not available.

Insert media into a port on the Vault and it will load automatically. Codex media – Capture Drives and Datapacks – have an LED that will flash whilst loading. The Storage screen shows media that is loaded.

To unload media, go to the Storage screen. Select the media and press Eject. Once the media is ejected it will disappear from the Storage screen and is safe to physically remove.

Do not unload media when it is being read/written as this can compromise data integrity.

See the section ‘Loading and unloading media’ in the Vault Administrator Guide for details.

Open the Vault Main Menu and press Power Down Vault to initiate the shutdown process. Alternatively, press the Power Button on the side of the Vault, which will bring up the option to power down the system. The system cannot be powered down if there are active Tasks.

In the event of power loss a task must be restarted from the beginning.

Yes, when the Vault generates files to an external drive it also creates an ALE (Avid Log Exchange) file on the external drive that contains metadata for all the shots.  This is done for both still image files such as .dpx, or stream files such as .mov.

Yes, when you Sign Off media you are given the opportunity to save several types of PDF report, either to an attached hard drive/USB stick or to the Vault itself.

The types of PDF report are:

Media Report – provides a PDF report with a summary of the contents of the media and the history of jobs/tasks that have been carried out with the media.

Job Report – provides a PDF report on the current running job that the media is involved in.

Shot Report – provides a PDF report of the shots on the media, with key metadata such as Roll, Timecode, Duration, File size, and Format.

See the section ‘Media Sign Off Task’ in the Vault Administrator Guide for details.

http://codexdigital.com/support/user-guides

Yes, all Codex Media Stations have the ability to create a verified LTO archive. The Vault's Archive Module can write LTFS tapes. 

LTFS tapes are an open source format that can be read on any system that has the supported drivers installed.

See the section ‘Archive Task’ in the Vault Administrator Guide for details.

http://codexdigital.com/support/user-guides

Yes, shot names and other metadata can be edited after the shot was recorded.  Using the Vault software you can select a shot in the Library, and then click Manage and Edit Metadata to edit metadata for the shot.  

See the section ‘Library’ in the Vault Administrator Guide for details.

http://codexdigital.com/support/user-guides

Yes, the Vault software can transcode your recordings to DNxHD .mxf for Avid, or ProRes .mov for Final Cut Pro.  The full range of compression codecs is available.

The software provides features for Scaling (e.g. from full resolution to HD for editing), LUT application (including a range of 3D LUT formats and CDL Data), and Burn-Ins (for masking, watermarks, and metadata such as shot names, roll names, and timecode).

See the section ‘Generate Task’ in the Vault Administrator Guide for details.

http://codexdigital.com/support/user-guides

The software can provide a range of RAW and uncompressed file formats such as:

.ari – for ARRIRAW

.rmf – for Canon CinemaRAW

.dpx – for uncompressed HD and 2K

See the section ‘Generate Task’ in the Vault Administrator Guide for details.

http://codexdigital.com/support/user-guides

The software supports a wide range of 3D LUTs as well as 1D LUTs and CDL Data, detailed in the LUTs Guide: http://www.codexdigital.com/assets/downloads/CDL,%201D,%20&%203D%20LUTS%20on%20Codex%20r23.09.11.pdf

When setting up how files will be generated for post-production, there is the option to set the Timecode Rate or Fps Rate for the files.  This should be set to be correct for your project.

See the section ‘Generate Task’ in the Vault Administrator Guide for details.

http://codexdigital.com/support/user-guides

Yes, the Review module for the Vault allows for playback of digital camera originals directly through a Vault for quality control and review via both SDI and DisplayPort.

Yes, the AV Sync feature allows you to load Broadcast WAV audio files (with timecode) from an external recorder. These are then automatically matched to shots on the Vault based on timecode. You can play back the shots with this audio to judge the sync and if necessary you can adjust the sync in 0.25 frame increments.

See the section ‘AV Sync’ in the Vault Administrator Guide for details.

http://codexdigital.com/support/user-guides

The Vault supports:

• Any camera recorded by the Codex Onboard S, including ARRI ALEXA and Canon C500
• ARRI ALEXA XT
• Sony F5
• Sony F55
• Sony F65
• RED Epic

The Vault supports drives formatted with the following file systems: FAT, Ext3, HFS, HFS+, NTFS, XFS.

For connectivity the Vault has a 2.5” SSD slot, USB 2.0 ports, and a SAS port allowing the attachment of SAS devices and eSATA drives with an adaptor cable.

When data is cloned on the Vault the software can calculate CRC32 checksums for the source, and compare these to CRC32 checksums that are calculated from the data that is written to the target media.

See the section ‘Clone Task’ in the Vault Administrator Guide for details.

http://codexdigital.com/support/user-guides

There are several modules that can be used to build a Vault system. These are:

• Transfer module – this allows loading of various media such as Codex Datapacks, Capture Drives and Transfer Drives; SSDs, and SxS cards. It also includes a removable base that goes at the bottom of any Vault system.
• Review module – this allows for the playback of digital camera originals directly through a Vault for quality control and review via both SDI and DisplayPort. 
• Storage module – this contains additional RAID storage that is used as intermediate storage for data prior to archiving and/or file generation. You can use two Storage modules in a Vault.
• SR module – this allows loading of two SR Memory cards from the Sony F65 camera. 
• Archive module – this contains two LTO5 drives that can be used to make backups.

All the major tasks in the Vault can be set up in an automated template. For example, when media is inserted the template can be configured to automatically start and first check the media, then clone the data to another location, and then generate deliverable files or create an LTO5 archive.

The Clone Task copies data in the original captured format from one media to another. This is typically used to clone data from camera media to the Storage Module of the Vault.

The Generate Task is used to transcode data from the original captured format to a deliverable file type for use in post-production. This might be the original camera negative data, such as a .ari file for ARRIRAW or .rmf file for Canon Cinema RAW, or it might be a proxy file for editing such as ProRes .mov or DNxHD .mxf.

Go to the Settings -> System menu of the Vault. If logs are requested by Codex support they will specify if they require Default level or Full level logs. To save the logs to a USB stick plug it in and then click the Save... button and a file browser will appear. Choose the USB stick and then click Select to save the logs.

Before the start of a new project it is advisable to make a back up of the system logs and media history on the Vault and then clear it from the system. Doing this will prevent the Vault from reporting clashing media names during the new project if a name matches media from the previous project. 

See the section ‘Preparing the Vault for a new project’ in the Vault Administrator Guide. 

http://codexdigital.com/support/user-guides 

The agreed workflow for a project will determine how the Vault is set up. An Administrator will set up the Vault and create User accounts. The Administrator could be a data workflow specialist, and the Users could be members of the camera team.

The workflow for the project may involve several Tasks (e.g. copying, backing up, making reports) and the Administrator designs “Work Templates” which run the Tasks in a given order.

Yes the Vault can transcode, play back and archive ALEXA B+W footage.

Yes the Vault can transcode, play back and archive ALEXA Open Gate footage.