ARRIRAW Converter Screenshot

ARRIRAW FAQ

Common questions regarding ARRIRAW

  • ARRIRAW is the raw format of ARRI's digital cameras. Its file extension is *.ari.

    The sensor readout of our ALEV III  is a raw Bayer frame provided as uncompressed, 12 bit log ARRIRAW data. To turn ARRIRAW data into RGB images, the files need to be processed (de-bayering and color processing).

  • MXF/ARRIRAW is ARRIRAW with a wrapper. All frames are wrapped within a MXF container. ALEXA Mini and AMIRA use this format to write ARRIRAW to CFast 2.0 media.

    Good to know:

    • There's no quality difference to *.ari single frame files.
    • All ARRIRAW-enabled softwares understand MXF/ARRIRAW.
    • If you need single frame ARRIRAWs you can use ARRI Meta Extract or our ARRIRAW Converter to unwrap the images. 
  • The resolution of ARRIRAW is not fixed to a specific number! It depends on the camera and its selected sensor mode. ALEXA 65 records the biggest ARRIRAW frames to date with a resolution of 6560x3100 pixels.

    The document ARRI Formats and Resolutions Overview provides information on all recording modes (including our other recording formats ProRes, DNxHD and MPEG).

  • This, again, depends on the type of ARRIRAW you want to record. 16:9 2.8K ARRIRAW records at 1.34 Gigabit per second at 24fps; Open Gate on ALEXA 65 with 5.89 Gbit/s at 24fps.

    See our Formats and Data Rate Calculator for more!

  • The ALEXA or AMIRA series cameras do not offer a special HDR mode. The camera's sensor provides an unrivalled 14+ stops of exposure latitude (measured with the ARRI Dynamic Range Test Chart) without any special capture mode. So that's "HDR since 2010" - when ALEXA with ALEV III sensor was first introduced.

  • Yes, it is. We've successfully submitted two SMPTE Registered Disclosure Documents (RDDs) on ARRIRAW: 

    RDD 30:2014: ARRIRAW Image File Structure and Interpretation Supporting Deferred Demosaicing to a Logarithmic Encoding 
    RDD 31:2014: Deferred Demosaicing of an ARRIRAW Image File to a Wide-Gamut Logarithmic Encoding.

    These documents are available from the Society of Motion Picture & Television Engineers (SMPTE)'s website at https://www.smpte.org.

  • ALEXA LF, ALEXA SXT, ALEXA XT models and ALEXA Classic cameras with an XR module upgrade as well as ALEXA 65, ALEXA Mini and AMIRA can record ARRIRAW footage internally , without the need for an external recorder.

    ALEXA Classic cameras (with the SxS module) cannot record ARRIRAW internally, but use a special protocol called T-Link to output ARRIRAW via HD-SDI. ARRIRAW T-Link output requires an onboard recorder that was certified for ALEXA ARRIRAW (T-Link) recording:

    • Codex Digital Onboard M and S
    • S.Two OB-1
    • Astrodesign HD-7502-A
    • Convergent Design Gemini
    • cineFlow cine Take
  • The ARRIRAW T-Link (Transport Link) has been developed to utilize a standardized HD-SDI interface for sending raw data from the camera to an external recorder. The camera packs the ARRIRAW data into a 12 bit log encoded RGBA HD video stream, which is sent over a standard SMPTE 424M or SMPTE 372M dual link HD-SDI connection. Since the recorder then has to recreate the individual raw frames from the stream, only certified recording equipment can be used.

  • The camera always outputs an HD or UHD monitoring image with optional surround view (see what is around the frame), status information and configurable frame markers.

  • An ALEV III sensor offers 14+ stops of dynamic range over its entire exposure range, with a base sensitivity of EI 800. This dynamic range is available in both ARRIRAW and Log C encoded ProRes footage. Due to the image compression used in ProRes, however, higher compressed ProRes footage can start to exhibit encoding artifacts when the material is excessively pushed in grading, whereas ARRIRAW footage will remain clean.

  • ARRIRAW playback at 24 fps requires a computer setup with a steady data throughput and a beefy GPU with OpenCL or CUDA support. ARRI offers the free ARRIRAW Converter, which can be used for ARRIRAW playback. ARRIRAW support is also available in a number of major post production tools, which may be usable for QC purposes.

    If you have access to a Codex Vault, you can consider the Codex review player. This is a hardware module for the Vault that has been designed for live playback and quality control of raw footage.
     

  • Since ARRIRAW footage is a straight forward file sequence or wrapped clip most software that allows creating verified copies from ALEXA ProRes clips can also handle ARRIRAW data. One example would be Pomfort Silverstack. If you recorded to Capture Drive 1 or 2, the Codex Production Suite also offers verified data copies through the Offloader option.

  • The metadata contains all camera settings, production notes, optionally scene and take information, camera tilt and roll and lens metadata (if an LDS lens/camera was used). Tilt, roll and lens information is recorded for each frame individually, so it is possible to track the exact timing, e.g. when the focus pulls away from one actor to an object in the back.

    That data can be accessed and extracted using ARRI Meta Extract (AME) or the ARRIRAW Converter (ARC).

  • A most up-to-date VFX tools have built-in support for ARRIRAW processing.

    For applications without ARRIRAW support, the footage can be processed to e.g. 10 bit log *.dpx or  16 bit floating-point  *.exr files using our free ARRIRAW Converter. Processing the files in native resolution usually provides a better basis for VFX work. Once the material has been composited, it can be scaled to the target format.

  • Provided your system can deliver the data at a sufficient speed, ARRIRAW can be edited in the latest versions of Adobe Premiere, Blackmagic Resolve or Autodesk Smoke.

    Usually small-size dailies are being rendered for editorial from the ARRIRAWs.

  • We strive to make the ARRIRAW format accessible to anyone. With our recent effort, to have the format specification published as SMPTE RDD (Registered Disclosure Document), we want to make sure that anyone who needs to process ARRIRAW archives in the future can rest assured that the instructions, how to do it, will be there.

  • The sensor in the ALEXA is covered with a mosaic RGB filter pattern, called the Bayer pattern. When an exposed frame is sampled by the sensor, it is captured as a one-channel image (as opposed to a regular RGB three-channel color image). The reconstruction of the missing color components for each pixel, based on the type and position on the Bayer pattern is called de-bayering.

    With a Bayer pattern sensor, 50% of the sensors photosites are used to represent green, 25% of the photosites represent red and the remaining 25% represent blue.

    For more information, please see our ARRIRAW page.

  • ARRI offers a software development kit (SDK) for ARRIRAW processing that software vendors can incorporate into their application. ARRI also supports vendors who wish to implement the ARRIRAW processing procedure on their own. Depending on the implementation, the following processing settings can be adjusted:

    • Exposure Index (ASA rating)
    • white balance
    • tint (green-magenta shift)
    • current or legacy de-bayering mode
    • output color space for HDTV, digital cinema (P3), ACES and Log C wide gamut
    • different standard aspect ratios
    • output resolution
    • sharpening of the image output
    • noise reduction

    With the ARRIRAW SDK, you can also apply a custom ARRI Look File, which offers CDL and 3D LUT options.

  • The different ARRI De-Bayer Algorithms (ADA) control how the color channels are reconstructed. 

    • ADA-5 HW is the lastest de-bayer algorithm used in the ALEXA cameras starting with SUP 11.0. It offers improvements for bluescreen vfx shoots and reduces noise as well as aliasing. 
    • ADA-5 SW is an enhanced software de-bayering algorithm based on ADA-5 HW 
    • ADA-3 HW is the camera hardware de-bayer algorithm used in ALEXA cameras in SUP 7.0 up to SUP 10.0. 
    • ADA-3 SW is an enhanced software de-bayering algorithm based on ADA-3 HW. Depending on the scene content, it can deliver more image detail than ADA-3 HW. 
    • ADA-2 SW is a legacy software de-bayer algorithm. 
    • ADA-1 HW is a legacy camera hardware de-bayer algorithm, that was used before SUP 7.0. 

    The processing version controls which color transformations are applied to the de-bayered data. Version 5.0 represents the latest status of in-camera color processing. Previous versions are available to allow matching an output with previously processed footage. ADA-3 HW/SW is only available in combination with processing version 4.0.

  • To cater to different needs, we provide our reference ARRIRAW processing chain through the free ARRIRAW Converter (ARC) application and through a free command line tool for different operating systems.


  • Images with Log C encoding in the ALEXA/AMIRA-specific wide gamut color space provide the camera's full latitude in an unconfined color space. Log C grading is very similar to grading of scanned film negative. It is very efficient and feels familiar to any colorist who is used to grading film.

  • Yes you can. The ARRIRAW SDK and ARC can output Open EXR files with ACES color space. ARRI provided all partner companies with IDTs, so the ALEXA/AMIRA profiles are already available in most tools that support ARRIRAW data and the ACES color pipeline.

  • No. Going from ARRIRAW to 12 bit Log C encoded files means no information loss. ARRIRAW data is already stored using 12 bit log encoding.

  • When viewed directly, Log C footage looks flat with desaturated colors. To get an image with a grayscale characteristic and color reproduction that is visually correct, the Log C footage has to be tone-mapped and transformed into the target color space. This conversion can be applied with a 3D Look Up Table (LUT), which can be created using the ARRI LUT Generator. A one-dimensional LUT can take care of the tone-mapping, so the resulting image will at least have a grayscale characteristic suitable for display. The transform into the target color space, however, requires a 3D LUT. This type of LUT contains both, the grayscale and the color transformation.

    In the grading application, the LUT is applied for the viewing/output path. The color correction is applied on the Log C image beforehand; the result of this operation is converted into the target color space using the LUT.

  • HDE provides a lossless reduction of the storage size of ARRIRAW images. An uncompressed ARRIRAW image can be reduced to a HDE file size not much larger than a corresponding ProRes 4444 XQ file. Expect all the original pixel values being accessible with HDE. The reduction in size for ARRIRAW images drastically reduces storage costs and file transfer times, speeding up your workflow and saving you money.

  • When an ARRIRAW image is encoded as HDE, the file extension changes from .ari to .arx.  The image essence is encoded, but the file header is otherwise identical.

  • HDE stands for High Density Encoding.  It is an encoding technique that is optimised for Bayer pattern images.  ARRIRAW images encoded with HDE are typically around 60% of the original size.  HDE encoding is completely lossless - when an HDE file is decoded, it is a bit-for-bit perfect match to the original file.

  • HDE typically results in a file that is 60% of the original ARRIRAW file size.  For example, ARRIRAW OpenGate 3.4K is normally 11.26 MB per frame and 972.5 GB per hour.  When stored as HDE, this becomes 6.76 MB per frame and 583.5 GB per hour.

  • HDE is designed to provide fast encoding and decoding speeds.  For example, a 4K Bayer image can comfortably be encoded/decoded at 24fps on a modern MacBook Pro laptop.

  • HDE is resolution independent, it can be used on ARRIRAW images of any resolution.

  • HDE files are supported in industry standard software such as Filmlight’s Baselight and Daylight, ColorFront Transkoder, Pomfort Silverstack and YoYotta. The list of supporting software is growing rapidly.

    The HDE SDK is available via [CODEX].