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 timecode 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. 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 25fps sensor speed/25p project speed. We used a Zeiss Compact Zoom 70-200mm at a t=4.0 in combination with a FSND 1.2 and a rotating polarizer.
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 fulfill the requirements of standard XDCAM workflows.
For each project rate we shot two different AMIRA Look samples:
- Look 1: REC-709 (Standard ARRI Rec709)
- Look 2: LCC (Low Contrast Curve). LCC creates an image with flat contrast curve and de-saturated colors for more color grading capabilities as in standard Rec709 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: