Codex Recorders and workflows are ideal for 3D or stereoscopic features where correct metadata is vital in streamlining the production process. The Codex ARRIRAW Plus recorder is designed to capture two streams of ARRIRAW material at up to 30 frames per second. The Codex Onboard Recorder is designed to capture either two streams of ARRIRAW, two streams of uncompressed 4:4:4 HD or two streams of wavelet encoded HD.
For a stereoscopic ARRIRAW shoot, Codex 512GB datapacks would be used with a Codex ARRIRAW Plus Recorder. This would allow for up to 25 minutes of stereoscopic recording (per eye) at 24 FPS on each datapack. The debayered output of the Codex can be fed to a monitor for a gate check - the Codex recorder makes it easy to check the last shot recorded by pushing just one button. Both channels can be monitored in this way with a one button toggle between channels. The two channels on the recorder are locked together with identical timecode and common metadata.
Throughout the day, datapacks can be sent to a Codex Vault S in a near-set environment for QC, archiving and dailies creation. The datapacks are loaded onto the Vault and immediately cloned to two Codex Transfer Drives. All metadata is verified and amended or corrected if necessary. The camera report is checked against the recorded shots and circle takes are marked. Because the two channels are linked by metadata, they will always be associated with each other for playback and for the generation of editing and finishing files.
At the beginning of production, the Codex Virtual File System on the Vault was set up to create Avid 3D MXF files with a burned-in LUT for editorial, ARI files for archive to LTO-5 tape and DPX files for visual effects. This setup can be locked so that it cannot be altered during production. The ARI files can also be cloned to another Codex Transfer Drive and sent to another system for full stereoscopic QC, enhancement and correction.
Despite the increased volume of material generated by a stereoscopic production, approximately 30 minutes after production wraps for the day, the director and crew can view dailies, editorial has their 3D MXF files and the ARI files are being written to tape.