Codex recorders have been used on TV shows such as "Bones" (Fox) "Grandpa in My Pocket" (BBC CBeebies) and "Game of Thrones" (HBO).
Medium to high end episodic television shows can be similar to feature films, with two or three hours of material being captured each day. File-based workflows have become the norm, taking over from workflows based on film origination and HDCAM-SR tape. The ARRI Alexa camera allows for the output of either ARRIRAW or HD. In this example, Codex Onboard Recorders are used to record the HD output of the Alexa as wavelet-encoded material. If a 3:1 compression ratio is used, this is equivalent to the HQ mode of HDCAM-SR recording. This reduces the number of datapacks needed for production and increases the record time per datapack. Audio is recorded separately with common timecode feeding the camera and audio recorder.
For dailies color grading, a Truelight from Filmlight can be used near set for basic grading. The full datapacks are loaded onto a Vault S Process, Storage and Archive where they are immediately cloned to internal storage. Audio is also loaded onto the Vault and synced with the picture. Avid DNxHD deliverables are made for editorial, using the Color Decision List (CDL) values from the Truelight to bake in the desired color. Any visual effects plates are identified and provided as uncompressed DPX files to the VFX facility on a Codex Transfer Drive. The camera original data is archived to dual LTO-5 tapes. The datapacks are then recycled back to set.
If further visual effects plates are needed, it is a simple task to use an EDL to retrieve the correct shots from tape and copy them to a Transfer Drive. Even the final conform can be done using the Codex Vault. An EDL is used to load the necessary shots from the LTO-5 archive tapes. The files can then be converted to regular DPX files, copied onto a Codex Transfer Drive and sent to a post house for final conform and color correction.