wkflw_samplefootage_teaser_2022pre

Camera Sample Footage & Reference Image

Demo shots and reference images for workflow tests

  • Camera Sample Footage

    ARRI provides sample footage, shot on ALEXA 35, ALEXA Mini LF, ALEXA LF, ALEXA SXT, ALEXA Mini, ALEXA 65, and AMIRA.

    The shots are intended for anyone who wants to test a workflow with ALEXA or AMIRA cameras with ProRes and/or ARRIRAW files. For example, to test LUTs for converting from LogC to Rec709, or to check how each of the different formats the ALEXA camera has to offer is best handled in different systems. Please note that this sample footage was created for workflow evaluation purposes.

    For details please see our Sample Footage Technical Information.

    ALEXA 35 Footage

    The ALEXA 35 sample footage has been shot on a beach in Australia. We used a Signature Zoom 45-135mm, a Signature Prime 25mm for the spherical shots and a Master Anamorphic 50mm for the anamorphic shots.

    Both, MXF/ARRIRAW and MXF/Apple ProRes files of the ALEXA 35 are stored as MXF files, so you can download each clip separately. After clicking on the links below you have the option to select one or more shots for download. All ARRIRAW files were also transcoded by our ARRIRAW HDE Transcoder software.

    ALEXA Mini LF Footage

    For our ALEXA Mini LF clips we’ve shot two different types: MXF/Apple ProRes 4444 and MXF/ARRIRAW. For all MXF/ARRIRAW clips we also offer a High Density Encoding (HDE) variant which was generated during the offload.

    Each clip is shot with the following settings if not otherwise noted (see pdf): 24 fps, 800 ASA, custom WB; shooting gamma is Log C wide gamut.

    The clips run for about 10 seconds, each with 2-channel audio.

    Webgate Direct-Links:

    ALEXA LF Footage

    For ALEXA LF we shot samples in our Munich showroom; for reasons of comparability we repeated the same scene over and over with different recoding modes. We’ve used all three sensor modes and shot all possible recording resolutions in their respective formats (ProRes 4444 or ARRIRAW). The clips have been shot with the following settings (unless otherwise stated): 24 fps, 800 ASA, 3200K; shooting gamma for all clips is Log C. Most clips run for about 10 seconds each with 2-channel audio.

    You can get hold of the full set of metadata by extracting it from the corresponding file’s header using ARRI Meta Extract.

    We’ve uploaded our sample footage to two different servers: a classic FTP server and ARRI’s cloud storage ARRI Webgate:

    ARRIRAW-HDE (ARRIRAW with High Density Encoding):

    In addition to the standard ARRIRAW, we've also prepared the same ARRIRAW sample footage with HDE (High Density Encoding) here:


    ALEXA SXT and ALEXA XT Footage

    All clips were captured with an ARRI ALEXA SXT Plus/ALEXA XT camera. We’ve shot all possible recording resolutions in their respective formats (ProRes 4444XQ or ARRIRAW). The clips have been shot with the following settings if not otherwise noted: 24 fps, 800 ASA, 5600K; shooting gamma for all clips is Log C.

    The clips run for about 10 seconds each with 2-channel audio.

    You can get hold of the full set of metadata by extracting it from the corresponding file’s header using ARRI Meta Extract.

    Webgate Direct-Links:

    ALEXA Mini Footage

    All clips were captured with a production model ARRI ALEXA Mini camera. We’ve shot two different types of clips: QuickTime ProRes 4444XQ and MXF/ARRIRAW.

    Each clip is shot with the following settings if not otherwise noted: 24 fps, 800 ASA, 5600K; shooting gamma for all clips is Log C.

    The clips run for about 10 seconds each with 2-channel audio.

    Webgate Direct-Links:


    AMIRA Sample Footage

    ARRI provides ProRes sample footage shot on an AMIRA camera with a release version of SUP 1.0/3.0 and MPEG-2 shot with a release version of SUP 3.0.

    Please note that this sample footage was created for workflow evaluation purposes.

    ProRes: HD and 2K clips
    We’ve shot two different ProRes flavors: ProRes 422 – “Video Workflow” and ProRes 4444 – “Postproduction Workflow” in two resolutions: HD and 2K. Each resolution is available in every project speed (i.e. timecode base set to 23.967p, 24p, 25p, 29.97p, 30p, 48p, 50p, 59.94p, 60p, 50i, 59.94i, and 60i). Project speed 29.97p is available as non-drop frame as well as drop frame time code clip-set. So each project speed folder contains a similar set of six clips.

    The clips have been recorded either in the Log C wide gamut color space or by using the built-in Rec 709 look file for conversion to HD video color space. You can get hold of the full set of metadata by extracting it from the corresponding file’s header. We used a Fujinon Cabrio 19-90 Zoom for all “sets of six clips” and an ARRI/Fujinon Alura 30-80 Lightweight Zoom for the high-speed clips.

    ProRes: 3.2K and 4K UHD clips
    For these higher resolution formats we chose ProRes 4444 as our go-to codec, recording straight to Rec 709 color space. For reasons of simplicity we only recorded 25 fps sensor speed/25p project speed. We used a Zeiss Compact Zoom 70-200 at T4.0 in combination with a FSND 1.2 filter and a rotating polarizer.

    MPEG
    All clips are MPEG-2 Long GOP 50 Mbps, wrapped in MXF container. The MPEG-2 clips were captured in HD resolution and in all available project speeds 23.98p, 25p, 29.97p, 50i, and 59.94i. Only 59.94i clips recorded with drop frame time code. Each camera project rate is put in a separate folder to preserve the original camera recording folder structure. The required metadata information should fulfil the requirements of standard XDCAM workflows.

    For each project rate we shot two different AMIRA look samples:

    • Look 1: REC-709 (Standard ARRI Rec 709)
    • Look 2: LCC (Low Contrast Curve). LCC creates an image with flat contrast curve and desaturated colors for more color grading capabilities as in standard Rec 709 images

    Access to the AMIRA sample footage

    We’ve uploaded our sample footage to two different servers: a classic FTP server and ARRI’s cloud storage ARRI Webgate:

    ALEXA 65 Footage

    All three ALEXA 65 clips were shot with project rate 23.98 in ARRIRAW Open Gate format. One clip is in sync speed, the other two in 60 fps high speed. ARRI Rental Prime 65 lenses were used in the 28, 50, and 80 mm focal lengths.

    For each clip, a 2K ProRes QT proxy is available. The original metadata of the ARRIRAW 65 footage is stored in the QT proxy as well.

    Webgate Direct-Link:


    FTP Access

    ALEXA and AMIRA sample footage is also available for download via our FTP server. Please use a FTP client software such as FileZilla or please check here for others.

    For ALEXA clips:
    Server:         ftp2.arri.de
    User:             ALEXA
    Password:   samplefootage

    For AMIRA clips:
    Server:         ftp2.arri.de
    User:             AMIRA
    Password:   samplefootage

    Please note: select “Use explicit FTP over TLS if available” for Encryption. For additional information download the Sample Footage Technical Information.

    If you have any further questions regarding this test footage or the ALEXA camera, please feel free to contact us at digitalworkflow@arri.de.

  • Reference Image LogC4

    The LogC4 reference image was captured with an ALEXA 35. All files were debayered by using our ARRI Reference Tool, which includes the latest ARRI Image SDK.

    This files can be used as reference images in post-production and can also be used for look-creation.


    FTP Access

    Our Reference Image for LogC4 is also available for download via our FTP server. Please use a FTP client software such as FileZilla or please check here for others.


    Server:         ftp2.arri.de
    User:             ALEXA
    Password:   samplefootage
    Subfolder:   /reference image/


    Please note: select “Use explicit FTP over TLS if available” for Encryption. 

    If you have any further questions regarding our reference images, please feel free to contact us at digitalworkflow@arri.de.