High-capacity digital media and recording platform for professional cinema camera recording and data management.
Technical Details
ARRI Codex utilizes lossless wavelet compression and supports color spaces up to 16-bit linear. The format stores metadata such as white balance, ISO values, and Look-Up Tables (LUTs) directly within the file. Typical data rates for 4K recordings range between 800-1200 MB/min, compared to 2000+ MB/min for uncompressed RAW files. Codex files use the container formats .arx (ARRIRAW Codex) or .mxf (Material Exchange Format). The system operates with proprietary Codex recorders, which are coupled to ARRI cameras via fiber optic connections (HD-SDI 3G/6G/12G).
History & Development
ARRI first introduced Codex in 2006 with the ARRIFLEX D-20 to manage the enormous data volumes of digital cinema cameras. In 2010, the format established itself as an industry standard for high-end productions with the ALEXA series. In 2013, ARRI expanded the system with Codex Vault for automated backup workflows. With the ALEXA LF (2018) and ALEXA 35 (2022), Codex now supports up to 4.6K recordings at 120fps with extended HDR metadata.
Practical Use in Film
Codex workflows dominate blockbuster productions such as "Blade Runner 2049" (2017, ALEXA 65), "1917" (2019, ALEXA Mini LF), and "Dune" (2021, ALEXA LF/65). On set, the Codex recorder captures data in parallel with the internal camera recording, while the Digital Imaging Technician (DIT) creates immediate color corrections and dailies using Codex Live tools. In post-production, Codex files offer maximum flexibility in color grading and VFX integration, as all sensor data is preserved losslessly.
Comparison & Alternatives
Compared to RED's REDCODE RAW, ARRI Codex offers higher compatibility with professional post-production workflows, but with lower compression rates. Blackmagic RAW (BRAW) achieves similar quality with smaller files but supports less color information. Sony's XAVC and Canon's Cinema RAW Light target similar applications but do not achieve Codex's market penetration in the premium segment. For independent productions with limited storage and computing capacity, compressed formats like ProRes 4444 remain viable alternatives.