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FREQUENTLY ASKED QUESTIONS

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Codex Production Suite
What is Codex Production Suite?

Codex Production Suite includes the Vault Platform, Vault Review, and Codex Live applications.

Codex Production Suite provides a full dailies and archiving system ready to integrate with your Mac Pro or MacBook Pro and a Codex Capture Drive® Dock or Capture Drive® 2.0 Dock (for the new Codex Capture Drive® 2.0). All tools in the Codex Production Suite are also available on Codex Vault S-Series and XL-Series, providing continuity but also flexibility from project to project. 

Not only can you quickly and efficiently copy your camera original negative to a hard drive, but it also includes the following features: 

  • 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.

How is Codex Production Suite different from the previous Codex UI software?

  • 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.

What are the hardware requirements for Codex Production Suite?

Vault Platform 4.0 can be run on several hardware platforms:

  • 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).

Which operating systems are supported?
  • OS X 10.10 and 10.11.5+, or macOS 10.12
  • Codex S-Series and XL-Series (Linux)

Which cameras are supported?

  • 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

Which media readers are supported?

Codex Production Suite running on Mac OS X supports the following media readers:

  • 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"
How can I get a video output from Vault Review on Mac platforms?

Vault Review supports video output using AJA Io4K or AJA T-Tap.

Do I need a licence for the software?

Yes, the software requires a licence to be used. To request a licence go to https://codex.online/licence-request

How do I navigate around the main screens of the software?

The Codex blue ring at the top left of the Vault Platform software provides navigation to the main screens. There are also keyboard shortcuts that can be viewed by pressing Ctrl-H.

Where can I find user guides?

User Guides for Codex Production Suite are available here

Can I use ‘MacPro Internal’ storage formatted with the Codex filesystem, like I did in Codex UI?

The MacPro Internal storage feature is not supported on Vault Platform. It is not required, because you can Clone data direct from Codex Capture Drives to an attached RAID.

How do I use Codex Live for on set grading?

The Codex Live User Guide is available on our User Guides page.

How do I use looks designed in Codex Live inside the Vault Review application?

The Codex Live User Guide is available on our User Guides page.

Which formats can I transcode to?

The following file types can be generated by Vault Platform: DPX (10/12/16-bit), JPG, ARI, RMF, VRW, CDX, EXR, H264, MOV (all ProRes codecs, Motion JPEG, Photo JPEG), MXF (all DNxHD codecs), 3D DNxHD MXF, WAV, BWF, CodexShot XML, VRAW Metadata XML, VLT 3D LUT, Canon XML, FinalCut XML, Metadata txt, ASC CCC xml, ASC CDL xml, ALE.

Can I archive to LTO?

Yes, archiving to LTFS formatted tapes is supported. Any LTO drive can be used, provided the correct LTFS drivers are installed.

How do I export CDL looks designed in Codex Live?

The Codex Live User Guide is available on our User Guides page.

How do I export CDL looks designed in Vault Review?

See the video ‘Colour Panel and Look Panels’ on our Tutorials page.

What are the In/Pre/Post/Out LUT slots for?

See the video ‘Colour Panel and Look Panels’ on our Tutorials page.

Can I stop Vault Review from opening in full screen mode?

Vault Review can be switched out of full screen mode on OS X using Cmd-F. Once this is done, the window position and size is remembered the next time the application is started.

How do I apply a Camera setting to a clip?

See the video ‘Media Check and Project Settings’ on our Tutorials page.

How do I apply a Source Aperture to a clip?

See the videos ’Set Source Aperture’ and ‘Using Destination Framings’ on our Tutorials page.

How do I apply production details to a clip?

See the video ‘Media Check and Project Settings’ on our Tutorials page.

What is the difference between Clone and Archive?

The Clone task will copy all images, audio, and metadata for clips into the same folder. When a Clone task completes, the clips will automatically be linked to the Library. The Clone task performs CRC32 verification of copied files, and can be used to write to an attached disk, or from one Codex Capture Drive to another. The Archive task will copy all images, audio, and metadata for clips into the manufacturers preferred folder structure. The Archive task performs md5 verification of the copied files, and can be used to write to attached disks or LTFS tapes.

How do I select clips and start a job?

See the video ’Starting Jobs’ on our Tutorials page.

How do I clone my clips?

See the video ‘Library Tour’ on our Tutorials page for details on selecting clips, and then use the ‘Clone (preset)’ job to copy your data.

How do I start a transcode?

See the video ‘Using Deliverables in Jobs and VFS’ on our Tutorials page.

How do I archive my clips?

See the video ‘Library Tour’ (Tutorials) for details on selecting clips, and then use the ‘Archive to 2 disks (preset)’ job to copy your data. To archive to LTFS, or customise the archive settings, see the video ‘Setting Up A Job Template’ (See the video ‘Library Tour’ (Tutorials).

How do I add clips to the Library?

Material on a Codex Capture Drive will appear in the Library automatically. For working with other file types, see the video ‘Link To Clips’ (Tutorials).

How do I make a PDF clip report?

See the video ‘Create PDF Clip Report’ on our Tutorials page.

How do I filter the clips shown in the Library?

See the video ‘Library Tour’ on our Tutorials page.

How do I view and edit metadata?

See the video ‘Edit Metadata’ on our Tutorials page.

How do I playback clips in Vault Review?

See the videos on Vault Review on our Tutorials page.

How do I create an ALE file?

See the video ‘Library Tour’ on our Tutorials page for details on selecting clips, and then use the Tools Panel feature ‘Create ALE’. When a Generate task is run, an ALE is also created on the destination disk.

How do I delete Codex media before returning it to camera?

When using Codex media formatted for ARRIRAW, VRAW, ProRes from ALEXA SXT, or recording with Onboard S - In the Storage screen, select the Dock and click the spanner/wrench, then click Erase. Warning - this operation cannot be undone.

When using Codex media formatted for ProRes from ALEXA XT - Use ‘Disk Utility’ on Mac OS X to reformat the drive with a FAT32 volume. Alternately reformat the media in camera.

What are the different screens in the Project area for?

Click the blue ring in the top left corner to open the Main Menu. The following options are available:

Project - this is where the Vault Platform software is set up for your project. There are many presets provided within Project to make the setup process easier. The areas within Project are:

Setup - here you set up Production information.

Cameras -  here you set up details of the cameras/formats that are being used, for example ALEXA 4:3 or VariCam 35. The purpose of this is that each Camera can be associated with a Framing (see below), as for example you may want to extract the same region of interest from all ALEXA 4:3 clips into files for editorial or dailies. Optionally, Cameras may even be matched with clips based on specific metadata, such as camera serial number.

Framings - here you set up Framings for both Source and Destination. A Source Framing is the 'region of interest' from the source clip that should be included in deliverable files. A Destination Framing includes details of the size of the file to be created (scaling), and also how the source image should be fitted into this.

Deliverables - here you set up the types of files that are required for post production. For example, a production may require H264 for iPad dailies, DNxHD MXF for editorial, DPX files for visual effects work, and a RAW image format for final colour grading.

Jobs - here you set up templates for the workflow tasks that need to be performed. For example, you may first want to Clone the data from camera media. Then you may want to Generate files for editorial.  Finally you may want to Archive files to LTFS tape for long term storage. These different tasks can be configured separately, or in combination, inside your Job templates.

VFS - here you set up the VFS (Virtual File System) to provide deliverable files inside the 'Codex VFS' drive that appears on the Mac Desktop. Once configured the VFS provides the files 'on-demand' - files for loaded material are always there and ready to be copied. The folder structure and naming of the files is highly configurable using the VFS.

How do I set up and use Cameras?

See the video ‘Media Check and Project Settings’ on our Tutorials page.

How do I set up and use Framings?

See the videos ’Set Source Aperture’ and ‘Using Destination Framings’ on our Tutorials page.

How do I set up and use Deliverables?

See the video ‘Using Deliverables in Jobs and VFS’ on our Tutorials page.

How do I set up and use Jobs?

See the video ‘Setting Up A Job Template’ on our Tutorials page.

How do I set up and use VFS?

See the video ‘Using the VFS’ on our Tutorials page.

How do I perform colour correction in Vault Review?

See the video ‘Colour Panel and Look Panels’ on our Tutorials page.

How do I sync audio to clips?

See the video ‘Audio Sync’ on our Tutorials page.

How do I apply LUTs and CDL during a transcode?

See the video ‘Setting Up A Job Template’ on our Tutorials page.

When setting up a Deliverable, the settings available depend on the file type selected. When using the Add Lut button there are a range of preset LUTs for different camera systems. The presets are mostly 3D LUTs that provide a camera log to Rec. 709 conversion. An example LUT file name is 'arri.logc.rec709.EI1000.ee.3d.lut', and the file name describes:  <SourceCamera>.<SourceColourspace>.<TargetColourspace>.<SourceExposureIndex>.<OutputRange>.<LutType>.extension. The OutputRange of 'ee' indicates extended range (black=0, white=1024 in output file) while 'el' indicates legal range (black=64, white=940 in output file).

Where a set of LUTs are provided for a range of exposures you can configure the system to select the correct LUT based on the exposure of the clip. First select a LUT from the set provided. Then, in the Lut field edit the name so that the exposure value is replaced with the metadata tag {ExposureIndex}, e.g. arri/arri.logC.rec709.EI/{ExposureIndex}.ee.3d.lut. This means that for every clip, the correct LUT will be applied based on the ExposureIndex value in the clip metadata. To use custom LUTs click the Add Lut button and navigate to the LUT file using the browser. Custom LUTs can be installed in /Library/Application Support/Codex/luts, which is the default location for the browser when using the Add Lut button. For 'dpx', 'mov' and 'mxf' file types the 'ARRIRAW' setting can be used to select the de-bayer used for ARRIRAW source material - 'ARRI' (ADA-5) or 'Codex'. The 'Processing' option relates to scaling and debayering operations. It is recommended to set this to High to get the best result.

How do I apply metadata burn-ins during a transcode?

When setting up a Deliverable, click Add to choose a Burn-in to apply from the presets available. You can choose to add as many burn-ins as required. For help with customising burn-ins contact Codex.

Do I need a RED Rocket card?

RED processing is done on GPU, so a RED Rocket is not required.

How do I monitor and control the progress of jobs?

The Job Queue can be used to monitor, pause, and stop jobs. Previously run jobs remain on the Job Queue until the software is restarted.

Are there any keyboard shortcuts?

Press Ctrl-H to see keyboard shortcuts in Vault Platform. Shortcuts in Vault Review are covered in the video ‘Navigation and Playback’ (Tutorials) and in the Vault Review user guide (User Guides).

ALEXA XT
What are the frame rates and record times for ARRIRAW?

Recording to an XR Capture Drive (CDX-3730):

Format

Max Frame Rate   

Recording @ 24fps   

ARRIRAW 16:9   

120fps

47 minutes

ARRIRAW 4:3

90fps

35 minutes


For more information see the Pocket Guide 

What are the frame rates available for ProRes?

Recording to an XR Capture Drive (CDX-3730):

Format Max Frame Rate
ProRes 4444 16:9 2K 60fps
ProRes 422HQ 16:9 HD 120fps
ProRes 422HQ 16:9 2K60 fps
ProRes 422HQ 4:3 2K48fps


Why is the Capture Drive capacity 240GB for ProRes?

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
What is the maximum recording frame rate with Action Cam?

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

How long can Action Cam record for?

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:

Frame Rate    1 Camera Record Time    2 Cameras Record Time  
23.98 107 (minutes) 53 (minutes)
24.00 107 53
25.00 102 51
29.97 84 42
30.00 84 42
47.95 53 26
48.00 53 26
50.00 50 25
59.94 42 21
60.00 42 21
What format does Action Cam record?

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.

What power is required by the Action Cam?

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.

How do I set up the clip naming?

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}

Can the Action Cam record CDL values?

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.

How do I load and eject a Capture Drive correctly?

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)

How do I shutdown the Action Cam correctly?

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.

Can I connect other cameras to the Action Cam recorder?

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.

What is the maximum cable length between the Action Cam head and recorder?

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). 

What is Action Cam log encoding?

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.

How are the 12-bit log values outputted as 10-bit video?

The following values are provided as common reference points:

 

10-bit fds code value

Linear value, t (to six decimal places)

4

-0.011437

64

0.000000

560

1.000000

940

14.192376

1016

24.000000

 

 

Linear value, t

10-bit SMPTE code value

Waveform %

0.00

64

0

0.18

332

31

0.90

545

55

1.00

560

57

6.00

816

86

12.00

916

97

24.00

1016

109

 

 

What does the ‘Video CRC error’ message mean?

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.

What does the ‘Video frame dropped’ message mean?

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.

What does the ‘Timecode break’ message mean?

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.

Recorders
What power is required for the Codex recorder?

The Codex Onboard has an input voltage range of 12-34V, and has a power consumption of 30W for recording most formats *. The ARRI Alexa RS power outputs can be used to provide a 24V output to the recorder, and with this voltage the current drawn by the recorder is 1.2A. If powering other accessories from the camera's RS outputs note that they can support a combined load of 2.2A. 


The ARRI Alexa 12V output is not suitable for powering the Onboard M recorder.

* The power consumption increases to 40W when recording ARRIRAW 4:3 @ 48FPS.
 
How do I set up the clip naming with an Alexa and Codex Recorder?

The Codex Onboard can use information that you input to name clips. Alternatively, with the ARRI Alexa it can take the clip and reel information from the camera (if you are also recording to SxS cards). 


This is configured in the Onboard 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}

To take the clip and reel information from the Alexa, use these settings:

Shot naming rule: {AlexaSxSName}
Roll naming rule: {AlexaReel}
 
What does the ‘INVALID FORMAT FOR DATAPACK’ message mean?

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.

Do I need licences to record some formats?

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.
 

Does the Onboard support 3D camera rigs?

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


What is the maximum frame rate I can record?

Format

Onboard M recorder

Onboard S recorder

Alexa ARRIRAW 16:9

60fps

60fps

Alexa ARRIRAW 4:3

48fps*

48fps

C500 CinemaRAW 4K

30fps

119.88fps

C500 HD/2K

60fps

119.88fps


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

How long can I record for?

Record times are shown for 24fps:

Format

Onboard M Data Pack 512 and Onboard S Capture Drive

Alexa ARRIRAW 16:9

46 minutes

Alexa ARRIRAW 4:3

34 minutes

C500 CinemaRAW 4K

27 minutes

C500 2K

35 minutes

What file format does Codex record?

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.

How do I set up for shooting with the ARRI Alexa?

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.

How do I set up for shooting with the Canon C500?

Recording C500 2D Camera 2K & HD | Download  (pdf, 590KB)

Recording 4K Canon Cinema RAW Download  (pdf, 590KB)

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

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


How do I get log files?

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

Then open the Codex UI software and enter the IP address for the recorder in the Connect To Server box.  Now go to the SETUP tab and click the i button (lower-right) and use the SAVE LOGS button.  Use the File Browser (folder icon) to choose a local directory on your computer to save the logs to.
How should I set up the cables between the camera and the recorder?

 

Output

Onboard M input

Onboard S input

Alexa REC OUT 1*

IN 1

IN 1

Alexa REC OUT 2**

IN 3

IN 2

C500 3G-SDI 1

IN 1

IN 1

C500 3G-SDI 2

Not applicable

IN 2

 

*Alexa in 3G SL output mode

**Alexa in 3G DL output mode

What does the ‘Video CRC error’ message mean?

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.


What does the ‘Video frame dropped’ message mean?

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.

What does the ‘Timecode break’ message mean?

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).


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

Can the Onboard record CDL values?

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.

What is the name of Codex storage media?

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.


How do I load and eject a Datapack or Capture Drive correctly?

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.

(WARNING - damage may occur to the Datapack drives if the lever is turned before the LED is solid red)
How do I shut down the Onboard correctly?

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.  

What do the different colours on datapacks and capture drives mean?

Red
= 512GB (up to 60FPS ARRIRAW 16:9, 30FPS ARRIRAW 4:3, Canon Cinema RAW all frame rates)


Blue = 256GB (up to 60FPS ARRIRAW 16:9, 30 FPS ARRIRAW 4:3, Canon Cinema RAW all frame rates)

Silver = 512GB (up to 30FPS ARRIRAW 16:9) Lightweight

Orange = 480GB (up to 60FPS ARRIRAW 16:9, up to 48FPS ARRIRAW 4:3, Canon Cinema RAW all frame rates)

Yellow = XR Capture Drive for use with the ARRI Alexa XT camera and XR module. 480GB (up to 120FPS ARRIRAW 16:9)



DTS-3 Software
Can I change shot names and other metadata?

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.

Can I make a PDF report?

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.

Can I make an ALE file?

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.

Can I make an LTO backup?

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.

How do I make a verified backup to disk?

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

Can I make editorial and dailies files?

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).


What if I just want RAW files?

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

.ari – for ARRIRAW

.rmf – for Canon Cinema RAW

.dpx – for uncompressed HD


What type of LUTs can I apply?

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


Why do some/all my files have a bracketed number at the end, e.g. “1-1_A001.0086400(2).ari”?

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.

 

How does the software handle timecode for off-speed/fast material?

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.

Does the Codex software support 3D workflows?

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

How do I get log files?

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.


Why is the OFFLOAD option not visible in the Codex UI?

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.

What licences are available for Codex software on Mac OS X?

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. 

VLT-3
Where can I find documentation on the Vault?

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.



What power is required for the Vault?

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.

How do I load and eject media correctly?

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.

How do I shut down the Vault correctly?

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.

What happens if I lose power in the middle of a task?

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

Can I make an ALE file?

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.

Can I make a PDF report?

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

Can I make an LTO backup?

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

Can I change shot names and other metadata?

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

Can I make editorial and dailies files?

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

What if I just want RAW files?

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

What type of LUTs can I apply?

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

How does the software handle timecode for off-speed/fast material?

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

Can I playback shots on the Vault?

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.

Can I sync audio files from an external recorder?

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

What camera systems does the Vault support?

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
What type of external drives can I copy files to?

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.

How does the Vault ensure data integrity?

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

How can the modules of the Vault be configured?

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.
How automated can my workflow be with the Vault?

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.

What is the difference between a Clone task and a Generate task?

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.

How do I get log files?

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.

How do I set up the Vault for a new project?

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.

Does the Vault support ALEXA B+W footage?

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

Does the Vault support ALEXA Open Gate footage?

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

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