The American Society of Cinematographers

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Tunnel Post Incorporates Codex Digital Lab

Tunnel Post, a full-service digital post house in Santa Monica, Calif., has purchased Codex Digital’s Digital Lab system and is making it the hub of a digital-lab service for commercials, television shows and feature films.

Tunnel Post will use the Codex Digital Lab to process digitally acquired media, prepare files for editorial, facilitate color grading and create archival media files. Used in tandem with Codex recorders and data packs, the system provides a standardized, end-to-end workflow for digitally acquired media and is compatible with most professional-grade digital cameras, including the Arri Alexa. The Digital Lab can process camera media at speeds several times faster than real time and output files in formats required by most editorial systems, including Apple ProRes and Avid DNxHD.

“Our new dailies workflow with Codex Digital Lab streamlines the digital production process by eliminating the problem of managing codecs and formats,” says Tunnel Post CEO Kyle Jackson. “We will be able to provide production companies with fast turnaround for their dailies and greater security for their digital assets. It will also benefit editorial companies by freeing them from the complex task of processing digital-media files.”

Tunnel Post plans to offer three grades of processing service, with one-light, best-light and DI-graded color treatments applied; same-day or next-day service is available, depending on the level of grading applied. “With our Codex workflow, directors, cinematographers and editors can see their dailies in hours, not days,” says Jeff Brue, Tunnel Post’s chief technology officer. “Additionally, this system makes it possible to preserve camera data and similar information throughout the postproduction process, maintaining important lines of creative communication between the [cinematographer] and the colorist, between the editor and the sound mixer, and between the dailies colorist and the final colorist.

“We can make sure everything looks great in the edit bay,” Brue continues. “Later, when [the filmmakers] want to do a final touch up, they can do so with much less time and cost, because a lot of the work will already be done.”

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