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Found 6 results

  1. I have 2 codex onboard m recorders (Cdx-3010) and 8 256gb drive packs, but no reader. I was thinking about seeing if anyone had a desktop reader (Cdx-5500) for sale. I'm also open to offers for the recorders if I can't find a reader of my own. The Codex M recorder can record uncompressed or wavelet cinema quality HD material plus audio and metadata onto a single, removable data pack. When shooting is done, it offloads material much faster than real-time. Can record 4:4:4 and ARRIRAW. Was designed with the Alexa in mind and was used in many feature films. Would love to use them or sell them to somebody that already has a codex reader.
  2. Hey, Ebay auction: http://www.ebay.com/itm/332403614607?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1558.l2649 $500 off for cinematography.com so it's $2000. This set has everything needed to shoot and transfer the footage from the camera to your computer. I can assist the buyer with the setup afterwards if needed. Codex Onboard M Recorder Comes with wetdock for Sony F35, which can also be unmounted so you can use the recorder with other cameras like Arri Alexa, Canon C500 and other. Codex has all available licences. for DPX, Arriraw, Canon 4K Raw. It shoots full 12bit 444 DPX up to 30fps and 10bit 444 up to 50fps with my Sony F35. It also supports ramping, overcranking and variable framerates, which you can do only on a few recorders on the market. The recorder has a panel which attaches to either side magnetically, it's not needed for recording, so it can be unmounted. Desktop Transfer Station Also has all available licences. I will provide Codex UI OSX software, which works with latest osx Sierra so you can import your footage and convert it to DPX, Prores 422, Prores 4444, DNxHD, DNxHD444 on the fly. I'm also including Sonnet Echo Express SEL in the package, which holds the ATTO SAS card and connects to your Mac via thunderbolt. 7x 512GB mags Each mag can do around 40 minutes of uncompressed 12bit 444 DPX footage. You can also choose wavelet compression from 3:1 to 16:1 and shoot much much more on one mag. Extras Peli case for transfer station and Otto Nemenz box for recorder and all the cables (see the list below). Full list of items included: - Codex Onboard M Recorder with magnetic panel - Sony F35 wetdock with necessary cables attached to the dock (no other cables needed, recorder runs off camera power) - Desktop Transfer Station - ATTO SAS PCI-E card - Sonnet Echo Express SEL which holds the atto card - 7x 512GB Codex mags - Peli case - Innerspace box Cables: - SAS cable (from transfer station to echo express) - USB cable (from transfer station to computer) - Thunderbolt cable (from echo express to computer) - Power supply for Transfer Station - Power supply for Sonnet Echo Express - Power supply for Codex Recorder I haven't used these but they came with Codex so they're included: - 6pin male lemo to 6pin male lemo (RS422) - 5pin male lemo to 4pin male XLR - 5pin lemo codex power adapter - 5pin male lemo to 2pin male lemo (Alexa > Codex power) - 5pin male lemo to 3pin male lemo (FGG.1B) - 5pin male lemo to 3pin male lemo (FHG.1B) Don't hestitate to contact me if you have any questions.
  3. Hello Everyone, After much thought I have decided to put my complete Sony F35 + Codex package up for sale. This is the only Sony F35 kit you will find to have a complete Codex Onboard Recorder package. This includes the Codex Onboard Recorder, 1 512GB + 3 256GB Data Packs, F35 Wet Dock, Control Panel, all necessary cable, the incredibly rare and expensive Desktop Transfer Station (DTS) and an ATTO ExpressSAS H3680 card inside a Sonnet Echo Express Sel case which plugs into any MAC with a Thunderbolt port. The Codex Recorder and DTS both have all available licenses activated: 12bit 444 uncompressed DPX, compressed JPG, ARRI RAW, CANON RAW. The DTS can automatically convert to ProRes422, ProRes444 or other formats on the fly for immediate editing of your footage. Also this is the only recorder that will record everything the Sony F35 can output: uncompressed 12bit 444 up to 30fps and uncompressed 10bit 444 up to 50fps - something that even the Odyssey 7Q cannot do because you need 4 SDI connectors for this last output. In addition to all this, Start/Stop recording can be activated via the record button on the F35. This Sony F35 is a complete OTTO NEMENZ kit with, in addition to other things, 2 custom machined cheeseplates, a machined top cheeseplate with integrated single 15mm rod mount and their spectacular viewfinder mount, which I updated with custom made 3D printed parts. If desired this can be easily changed to the original Otto Nemenz viewfinder setup. I have a great many accessories for sale to make a complete "ready-to-shoot" system. These include: Red One 18-50mm f2.8 lens in great shape, a Carl Zeiss Biometar Jena 120mm f2.8 PL mount lens, a Carl Zeiss Biometar Jena 80mm f2.8 PL mount lens, a Helios 44-2 58mm F2 PL mount lens, Vocas Wooden Handgrip with 150mm offset extender, an Ikan D5 monitor, Zoom H6 recoder with Gator waterproof case and Monster Digital 32GB SD card + Zoom SSH-6 Stereo Shotgun Mic, a 2 stage Chrosziel matte box with french flag, SHAPE 8000 quick-release V-Lock shoulder mount/baseplate, Sony VCT-14 quick-release tripod adapter, O'Connor 50D fluid tripod head, Lensse S5 Dual Follow Focus with speed crank, Lanparte V-mount batteries with charger, Tiffen 4x5.65 full spectrum IRND 1.2 filter, and other items for a truly complete setup. Since I have so many Sony F35 related items for sale I have created a price list with descriptions in PDF format that can downloaded from the link provided below. I believe I am offering these kits at very competitive prices. Everything is fully functional and in exceptional condition. As I said it took me 2 years of trial and error, testing various components, and finally finding the best parts for what I consider the Ultimate Sony F35 Set-Up. I have selected each component carefully and have taken exceptional care of them all. Photos and links to photos of many of my components can be found here below. Here is the link to the price list: http://www.igorbertolucci.com/SONYF35SALE/SONY_F35_Kit_Price_List.pdf As an incentive, with the purchase of multiple kits, or better yet the entire list of equipment, I am able to offer an even better price than the already very competitive prices you see in the price list. If you are interested in purchasing multiple kits please contact me. Shipping will vary depending on the kit(s) purchased and the destination. For the "Sony F35 with Codex Onboard Recorder Kit" WITH the Otto Nemenz hard cases you are looking at around $400 shipping in the US and $800 overseas. Without the cases this price drops substantially as they cases themselves are very heavy. I regularly pack and ship hand-crafted ceramic items all over the world and can pack all the equipment securely and safely in boxes without the hard cases, which will reduce the shipping cost to about half: ~$250 CONUS, ~$500 overseas. Shipping will be from San Francisco. Following are links to additional photos as we are limited to only one photo attachment per sale thread: http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_01.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_02.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_03.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_04.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_05.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_06.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_07.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_08.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_09.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_10.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_11.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_12.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_13.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_14.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_16.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_17.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_18.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_19.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_20.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_21.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_22.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_23.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_24.jpg http://www.igorbertolucci.com/SONYF35SALE/SONYF35SALE_25.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex001.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex003.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex004.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex005.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex006.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex007.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex008.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex009.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex010.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex011.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex012.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex013.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex014.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex015.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex016.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex017.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex019.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex020.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex022.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex025.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex026.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex027.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex028.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex029.jpg http://www.igorbertolucci.com/F35/12bit_tests/Camera%20Setup/F35%20Codex030.jpg Here is a link to a forum where you can find additional photos of the F35 in the Kata backpack (at the end of the page): http://www.dvxuser.com/V6/showthread.php?332103-Sony-F35-Codex-M-Recorder-Complete-Setup/page5&highlight=codex Here is a link to a thread where you can find photos of the additional CCD Block and Sony F23 to F35 Conversion kit hardware: http://www.dvxuser.com/V6/showthread.php?337896-Sony-F23-F35-Conversion-Kit-***-F35-Optical-Block-CCD-plus-hardware Should anyone have any questions please PM me or write to me directly at samana76@yahoo.com Cheers, Igor
  4. Hey there! I'm sorry if this is too many questions at once, but I figured it would be better to just lay my initial questions all out at once instead of peppering them throughout the thread over time. I graduated from college this May with an English degree and a minor in Communications, and I want to go to film school as a graduate student. In order to do this, I need a short film (I'd really like to go to USC). However, my university didn't/doesn't exactly have a cutting-edge film program, so I'm a little flustered. Here's a bit of background about my short film project. It concerns a young woman going to a bar in the early hours of her 21st birthday (it's like 12:08 AM) and ordering her first-ever drink. It's going to be shot without dialog--it will be all body language and sound effects, like a Pixar short, if that makes sense. I want the look of the film to be "objective" (I know that's not a real thing in film) except for a couple of wide-angle shots and a deep focus shot which pulls back over the bar to establish that she's in a bar (if there's a way to do this without deep focus, let me know). I'd also like to do something like this shot from The Music Man (https://youtu.be/CC33O52pGUg?t=2m43s). I don't know how they did it, but I suppose you can cheat it in post if you're a good/patient enough rotoscoper. Anyway, I was looking into what kind of camera I should use to film this project. I've saved up a bit of money and I want to get the best camera possible for the job without requiring me to learn a textbook-worth of information or have tons of hands-on time with the camera before I use it. Since I'll be filming in a real bar (sadly, I haven't saved up enough money to build one from scratch on a soundstage) at night, there will be low light and the possibility of competing color temperatures (since I can't exactly tear out any lights). I'd also prefer to go for as filmic a look as possible. I would shoot the project on film if I could, but I super-don't know enough about film to do that. For this reason, I was looking at either the RED camera or the ARRI Alexa XT. After reading about the RED, I came away with the impression that it was a very particular camera that had kind of a steep learning curve, and that the ARRI Alexa XT would be much easier to shoot with, although I don't know if it's easy enough. My experience has mainly been with that one miniDV Canon SD prosumer camera that everyone had. I also would like to shoot Open Gate ARRIRAW for the project to maximize the pixel count for upscaling to 4K. Since I live near Atlanta, I'm looking at renting from here: http://pce-atlanta.com/. Here is their list of cameras and lenses (PDF): http://www.pce-atlanta.com/pdf/Camera%20Catalog_4_8_2013.pdf. I'm going to be renting the camera and lenses for a weekend. So my first question is: how feasible is this? Especially as I've never used the Alexa before and I'm not an experienced color corrector. Can you just drop ARRIRAW footage into the free version of Da Vinci Resolve or Adobe SpeedGrade and get good results just by messing with a few presets, or is it going to be a month of tedious work? Because I don't have the time to devote every day to it, especially as I'll also be doing foley work. My second question is this: ARRIRAW is flat footage, correct? So how do you know how the colors are going to look when using the monitor? My third question is: how much is that Codex docking station that plugs into the USB 3.0 connection on a MacBook Pro? I've been unable to get a straight answer from their website. And do I need to buy a software license to transfer the ARRIRAW files to a hard drive using it? My fourth question is this: what kinds of lenses should I use? I was thinking of just getting a zoom lens, since that would be cheaper, but would I be able to pull off that deep-focus shot with it? And ARRI's website tells me that shooting in Open Gate ARRIRAW can be a problem because a lot of lenses don't fully cover the sensor area. Do any of the lenses on that list qualify? I'd rather not abandon the Open Gate part of my plan, but I'd sooner abandon it than abandon the Alexa XT (although if I weren't shooting in Open Gate ARRIRAW I guess I could switch to an Alexa with the XT module), so if I have to, I will. My fifth question is: do I need to get a new tripod? I mainly have the kind which you can use for still camera work or for that relatively light Canon prosumer camera I mentioned. Is the Alexa XT a heavy camera? My sixth question is: lighting. I don't understand it. I have a lot of questions about it. I'm considering just using the available light for this reason. For instance, I understand the three-point lighting method (or I think I do, anyway) and I understand how it's easy to do in close-up, but what happens when you cut to a long shot from a different angle, exposing where the lighting rigs would be? My seventh question is: how do I keep it from looking like TV? Let me elaborate on that. I initially thought that aspect ratio played a part in making TV look like TV, but Better Call Saul looks like a movie to me, and Witness for the Prosecution, mistakenly presented in 16:9, looked like a movie as well--not like TV. So my theory is that it has something to do with coverage and composition (and maybe editing and lighting, too). I want my short film to look like a film. What are some common pitfalls I should avoid if I don't want my film to be mundane? I think that's it for now. If you guys could do me a favor and keep checking this thread, I'm sure I'll have more questions. Thank you so much for your time. Also, please let me know if in the future I should make separate topics for questions with separate subject matter. I just didn't want to clutter up your forums.
  5. I'm putting together a test hopefully in a week or so over at Radiant Cameras in LA, but does anyone have any experience shooting with the Codex Action Cam? I'm trying to do a POV shot a la Strange Days (1995) with the camera mounted to a head rig and the recorder, batteries, etc strapped to a vest. The shot will be going from a night ext to night int and will be lit, but with a low light feel so light sensitivity is important. If so, here are a few questions I have: 1) How does the camera perform in low light? 2)How is the dynamic range on the camera? 3) I know there are Kowa c-mount mini lenses you can get for it, but any other type of mini lenses that will work with the camera and are still lightweight since it's on the ops head? 4) How does the footage cut with Alexa 2k in terms of color space and dynamic range? 5) Any other small, POV cameras worth testing? Thanks! Best, Andrew
  6. Codex CDX-3010 Kit £3,000 GBP (ex VAT) Condition: Used Warranty: 3 Months Case Containing: Codex Onboard Recorder CDX-3010 Onboard Control Panel CDX-P065 Codex Recorder Handle CDX-P064 Control Panel Fixing Plate 6-6pin Panel Control Cable Long 5p Lemo - 3p RS Power Cable Dual Mini BNC Loom 4p XLR - 5p LEMO Battery Power Cable 4 x Codex M Flash Pack (256gb) CDX-P300 Please contact me on Casey@esbroadcast.com if you require any further information.
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