Codex (www.codexdigital.com) has issued congratulations to the multiple award-winning cinematographers whose digital features, photographed using Codex recording platforms, won in competition at the 2013 Camerimage Festival of Cinematography. Six movies, with budgets ranging from $1m to $100m, screened at the festival with the cinematographers reporting significant on-screen gains having used Codex at the heart of their production workflows.
Polish cinematographers Lukasz Zal and Ryszard Lenczewski jointly collected the top accolade of the Golden Frog for the stylish B&W $2m Polish independent movie Ida, while Mexican DP Lorenzo Hagerman AMC was honoured with the prestigious Silver Frog for the dramatic $1m Mexican indy film Heli. Both movies used Codex/ARRIRAW workflows, enabling each of the cinematographers to access and take advantage of the full latitude of the original Alexa ARRIRAW source files during production and final DI colour grade.
During production on Ida, the great thing about Codex was that it was invisible it just worked in the background without any problems, commented DP Lukasz Zal. However, the biggest advantage of having the Codex/ARRIRAW workflow on such a low-budget production is the sheer quality of images we were able to deliver on the big screen.
Heli DP Lorenzo Hagerman commented, As a cinematographer, I always want to capture as much information as I can when I shoot. Its a matter of subtlety, the little things that register in the image. On the shoot for Heli, I could let the Codex recorder do its job and focus on doing what I love. The Codex/ARRIRAW workflow made DI colour correction easier and faster because we had so much detail in the images, and it meant we actually saved money during post production.
In the 3D Films category, a new introduction to Camerimage, Alfonso Cuarns $100m blockbuster Gravity, shot by Emmanuel Lubezki AMC ASC, collected the Best 3D Feature Film award, and Wim Wenders $4.5m contemporary dance documentary Pina, lensed by H lene Louvart, collected the award for Best 3D Documentary Film. Again, both films deployed Codex recording platforms as the cornerstones of their respective workflows. Gravity shot using Codex/ARRIRAW, whilst Pina was recorded Codex/422 JPEG 2000.
No other camera had the latitude and quality of the Alexa, and Codex allowed us to extract that, said Lubezki. The amount of information and the quality of the information is far superior. It helped immensely on Gravity.
Other movies at Camerimage to use Codex/ARRIRAW included Ron Howards $38m high-octane F1 racing movie Rush, lensed by Anthony Dod Mantle DFF BSC ASC, which was in the main competition, and the $9m ocean drama All Is Lost, directed by JC Chandor, lensed by Frank G. DeMarco and Peter Zuccarini using the Codex Vault, which had a special screening.
Cinematographer Anthony Dod Mantle commented, We shot fast and hard on Rush. It was fantastic to shoot with the Codex workflow behind us delivering ARRIRAW. It was the obvious choice for the mercurial weather we encountered during production and the new areas I took the pictures in post production.
"Codex is proud to have supported each of these remarkable cinematographers in the pursuit of their art, and congratulate them on their considerable triumphs at Camerimage, said Marc Dando, managing director of Codex. Their work encompasses the widest variety of stories, styles, looks and budgets, and underlines how the Codex experience can be seamlessly harnessed for the cinematographic storytelling process from small independent movies to the largest studio pictures.
Codex recording and workflow technology has been used on hundreds of motion picture productions worldwide. Recent and forthcoming releases to rely on Codex products include: The Fifth Estate, Riddick, Enough Said, The Wolverine, Thor: The Dark World, Prisoners, Jupiter Ascending, Mad Max: Fury Road, Noah, The Wolf Of Wall Street and In The Heart Of The Sea.
About Codex: Codex high-performance digital workflow tools are employed by independent and Hollywood motion pictures, high-end TV and commercials productions shooting worldwide. Designed for filmmakers by filmmakers, the companys renowned product portfolio includes easy-to-use recorders and media processing systems that streamline the transfer of digital files and images from camera through to post production. They also include leading-edge tools for colour, dailies creation, archiving, review and digital asset management. Codex is a privately-held company, headquartered in London, UK, with offices in Los Angeles, Paris, Beijing and Wellington, plus sales partners worldwide. Codex research and development continues to raise the bar for digital productions, combining the latest electronics and industrial design with trailblazing toolsets and capabilities for media and entertainment creation. www.codexdigital.com
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Codex (www.codexdigital.com) has issued congratulations to the multiple award-winning cinematographers whose digital features, photographed using Codex recording platforms, won in competition at the 2013 Camerimage Festival of Cinematography. Six movies, with budgets ranging from $1m to $100m, screened at the festival with the cinematographers reporting significant on-screen gains having used Codex at the heart of their production workflows.
