Codex is now delivering the Codex V-RAW Recorder for the Panasonic VariCam 35 camera to customers worldwide. Combining high-performance with ease-of-use, the Codex V-RAW Recorder adds important uncompressed RAW capture to Panasonic’s new camera platform by enabling the recording of 4K RAW at up to 120fps.
The Codex V-RAW Recorder records to the next-generation Codex Capture Drive 2.0, which has a bandwidth of 20Gb/s and has raised the bar for high-end capture. The combination of the V-RAW Recorder and the Capture Drive 2.0 can easily handle the bandwidth required for recording uncompressed 4K RAW at up to 120fps from the Panasonic VariCam 35. For simplicity, the V-RAW Recorder comes as a direct-attach module for the VariCam 35 camera, eliminating the need for cables and making operation straightforward. Adding even more functionality to the camera package, the V-RAW Recorder also powers the camera and has three 24V accessory power outputs.
“We’ve worked with Codex recording and workflow technology for several years and they have great, reliable products backed by excellent support,” said Michael Condon, SOC, VP Digital Division at Clairmont Camera in Los Angeles. “We are excited to get the new Codex V-RAW Recorders into the hands of our rental customers and happy that Panasonic chose Codex as their technology partner for RAW workflows.”
The Codex V-RAW Recorder for the VariCam 35 continues Codex’s tradition of providing not reliable recording and media, but also a fully-featured, streamlined workflow from production to post and archive, via Codex Vault Platform, Vault Review, Review Live and Media Vault systems. Existing Vault customers, such as Atlanta-based cinematographer and rental house owner John Sharaf, appreciate that despite the data requirements of the VariCam 35, Codex products are engineered to meet today’s challenge of faster throughput. Along with Clairmont Camera, Sharaf is one of the first V-RAW Recorder owners in the United States.
“As a Codex Vault owner, I am very familiar with Codex products already,” said Sharaf. “Panasonic couldn’t have chosen a better partner for RAW recording and workflow for the Varicam 35. Codex’s products are cutting-edge and backed-up by world-class customer support.”
Review: Director John Crowley’s “We Live In Time”
It's not hard to spend a few hours watching Florence Pugh and Andrew Garfield fall and be in love. In "We Live In Time," filmmaker John Crowley puts the audience up close and personal with this photogenic British couple through the highs and lows of a relationships in their 30s.
Everyone starts to think about the idea of time, and not having enough of it to do everything they want, at some point. But it seems to hit a lot of us very acutely in that tricky, lovely third decade. There's that cruel biological clock, of course, but also careers and homes and families getting older. Throw a cancer diagnosis in there and that timer gets ever more aggressive.
While we, and Tobias (Garfield) and Almut (Pugh), do indeed live in time, as we're constantly reminded in big and small ways — clocks and stopwatches are ever-present, literally and metaphorically — the movie hovers above it. The storytelling jumps back and forth through time like a scattershot memory as we piece together these lives that intersect in an elaborate, mystical and darkly comedic way: Almut runs into Tobias with her car. Their first chat is in a hospital hallway, with those glaring fluorescent lights and him bruised and cut all over. But he's so struck by this beautiful woman in front of him, he barely seems to care.
I suppose this could be considered a Lubitschian "meet-cute" even if it knowingly pushes the boundaries of our understanding of that romance trope. Before the hit, Tobias was in a hotel, attempting to sign divorce papers and his pens were out of ink and pencils kept breaking. In a fit of near-mania he leaves, wearing only his bathrobe, to go to a corner store and buy more. Walking back, he drops something in the street and bang: A new relationship is born. It's the... Read More