American Cinematographer - June 2016 - 105

cameras. From ingest to postproduction,
Codex Production Suite 4.5 provides a
single, simple, secure and affordable workflow for multiple types of cameras, from
Arri's Alexa 65 to GoPros.
Codex Production Suite is available
on several different platforms, including
Codex's own hardware. Production Suite
was developed hand-in-hand with
customers worldwide, particularly DITs, who
now have all of the tools they need to
deliver color-accurate on- or near-set dailies,
and to securely archive camera-original
material in one efficient workflow.
Codex Production Suite features a
comprehensive toolset, including splitscreen or A/B playback of camera-original
material, with correct frame rate, color
space, LUT and CDL values applied; imagescaling and crop tools; metadata checking,
fixing and appending; QC tools and
customized reporting; fast transcoding to
common dailies formats; high-quality
deBayering to DPX and Open EXR for visualeffects deliverables; and archiving using
LTFS to LTO-tape and Codex Media Vault
Library via Codex Archive.
Codex Production Suite 4.5 also
includes non-destructive, CDL-based color
grading. Production Suite can import and
process externally created CDLs and LUTs,
so that looks can be applied overall or shotby-shot; looks can be baked into editorial
dailies or appended in the metadata of
deliverables. Production Suite offers a full,
end-to-end ACES-compliant color pipeline;
it seamlessly integrates with Codex Live for
a consistent color pipeline from camera
through to deliverables and beyond, and
with Tangent panels for grading purposes.
Production Suite also features an audio-sync
toolset, enabling the import of WAV files,
playback of shots in a proxy window, and
synchronization of audio files to shots based
on time code.
Additionally, Codex and Offhollywood - the latter of which was recently
acquired by the Vitec Group - have
announced the seamless integration of the
Codex Live color-management and lookcreation system with Offhollywood's
OMOD camera modules for Red Digital
Cinema cameras. This technology collaboration delivers a fast and robust set-to-post
solution for Red camera workflows, and it

enables live HDR on-set grading at the same
time as SDR. With Codex Live, users can
also color grade CDLs under HDR output.
Codex Live features an easy-to-operate interface and enables users on set to
create and preview looks and color grades
directly from multiple live HD-SDI camera
feeds. These looks and grades can be
previewed with Codex Review and automatically applied when generating deliverables via Codex Production Suite. With
Codex Live, the looks created can be
exported in various formats for application
downstream in the workflow. Codex Live
has multiple color controls to adjust the
range of color parameters and is ASC-CDLand ACES-compliant.
The technology partnership means
that Codex Live can generate CDLs and 3D
LUTs for the Offhollywood OMOD module.
Codex Live users can grade wirelessly, in
real-time, directly to the OMOD. Each monitor path can have a separate color pipeline
so that, for example, the DIT can grade and
preview in isolation and then share the look
when ready.
For additional information, visit
www.codexdigital.com.

AadynTech Updates LED Range
Aadyn Technology has released a
new line of LED lamps that offer greatly
increased light output over the company's
previous models while boasting the same
efficient power consumption. Four fixtures
have been improved to deliver at least 30
percent more footcandles at 10': The Jab
Daylight, Jab V2 Variable, Jab Hurricane and
Punch Plus, the latter of which is nearly 50
percent brighter than before.
In addition, the Jab Daylight, Jab V2
Variable and Punch Plus now have a built-in
105
http://www.codexdigital.com http://www.fjwestcott.com
American Cinematographer - June 2016

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