FAQ
Please visit our Look Library website at or download the iOS App for an overview of all the looks included in the Look Library.
The values of the primaries in an image from the sensor of a digital camera relate to the amount of light seen through red, green and blue color filters. There are no colors a camera can’t see, so...
Watch the video here.
3D-LUTs are more powerful than 1D-LUTs as they can cross-convert colors between channels and independently control saturation, brightness and contrast. However, they are significantly larger than...
Yes, the ACES system includes transforms (ODTs, output display transforms) for HDR output based on the reference rendering transform. For more information on ACES, please see the ARRI ACES pages.
The ARRI Look Library is a collection of 87 looks in three intensities (three intensities available for Look Library for LogC3 only) for use in ARRI cameras with advanced look management (ALF2...
Generally speaking, you need to export the look as a 3D-LUT and combine this into an ARRI Look File. For ALEXA 35, ALEXA 35 Xtreme or ALEXA 265 this needs to be a Log-to-Log...
The brightness of the screen should correspond to the foreground, which needs to be separated. A good objective is to have the foreground properly exposed for skin tones 1/3 of a stop above 18%...
Yes, through ARRI Service Munich, in Germany.
No, the upgrade can only be done through ARRI Service Munich, in Germany.
The Compact Drive Express is an Apple ProRes-only drive and does not allow ARRICORE or ARRIRAW recording.
No, because the new 360 EVO works on a completely different software architecture.
The long roll cable comes as a standard with the 360 EVO.
To capture music legend Billy Joel’s historic 100th consecutive performance of his residency at Madison Square Garden, show producers turned to ARRI’s ALEXA 35 and Mini LF...
This is not an error! You have chosen to record in “Log C” – ARRI’s native color encoding. Opposed to a “video” image (in REC 709 color space) Log C maintains more details in the lowlight as well...
Line by line for every format, sensor mode and lens illumination.
There's a rule of thumb: "The cleaner the image the better the key". While many VFX-heavy productions have successfully used ProRes 4444 and ProRes 4444 XQ for their VFX work, only ARRIRAW (or...
The Color Decision List CDL or ASC CDL) is a format for the exchange of metadata information about a basic primary color grading between the camera and post-production software. The American...
We will consider any clips shot with Signature lenses, regardless of what camera has been used. It’s the glass that matters on this page.
Please see the table below. To get more information, please use the ARRI Formats and Data Rate Calculator.
No, this showcase page is meant only for images created with Signature Primes and Zooms, with or without Impression V Filters.
Looks from the ARRI Look Library generate a specific grade and color response. It is important to understand, that the white balance settings will also affect the grade as white balance will be...
Like with other ALF2 or ALF4 looks, the looks will be embedded in the meta-data of the recorded media and can be accessed by ARRI Reference Tool (ART) and ARRI Meta Extract (AME) or most DI...
No, only after an upgrade to 360 EVO, because the new software and user interface require more computing power and more memory.
News & Stories
Join the innovative minds at Sundance as they utilize ARRI cameras and lighting for superior digital production. Explore now!
The looks can be adjusted using CDL parameters after duplicating them in the camera. This way it is possible to use ARRI Look Library looks as a basis to create new adjusted versions which are...
ASC CDL (Color Decision List) is a standardized format to exchange and specify basic color grading information. It contains slope, offset, and power controls for the red, green, and blue channels...
Video
Marc Shipman-Mueller explains in this minute-long video why damage to SDI outputs can occur and what to do to prevent it.
Technical information
The short answer is: 200-400 ASA for ALEXA/AMIRA cameras using the ALEV3 sensor and 400-800 ASA for ALEXA 35/ALEXA 35 Xtreme (ALEV4 sensor). Here's the long...
Technical Downloads
For a green screen shot neither white point setting has an effect on the green channel gain. Daylight and tungsten light deliver the same quality. For a blue screen shot the blue gain used with...
Yes, this is possible in Resolve. It should also work on other post software that can read MXF/Apple ProRes.
