Line by line for every format, sensor mode and lens illumination.
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.
FAQ
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...
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.
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...
News & Stories
Join the innovative minds at Sundance as they utilize ARRI cameras and lighting for superior digital production. Explore now!
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...
Yes. The LPL mount is a key element of the ARRI large format system. Since we know that customers will not always use ARRI cameras and/or ARRI lenses, but we did not want to limit our...
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 Downloads
Technical information
Yes, this is possible in Resolve. It should also work on other post software that can read MXF/Apple ProRes.
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...
The ARRI Look File 1 (ALF1) is our discontinued Look File an was replaced by the ALF2 (ALEXA SXT, Mini, AMIRA, Mini LF) and ALF4 (ALEXA 35/35 Xtreme/265...
Regulatory Documents
Yes, following the 360 EVO launch there will be one final software update for the SRH-3 and SRH-360, after which the only further updates will be LBUS related.
The Look Library "for post production" is available as Log-to-Log 3D-LUTs (*.cube) for LogC3 and LogC4 on our Look Files Website. Some 3rd party applications are able to read the ALF-2...
This overview is work in progress and will be updated continuously.
The ALEV4 sensor offers 17 stops and the ALEV3 sensor 14+ stops of dynamic range with a base sensitivity of EI 800. This dynamic range is available in both ARRIRAW and Log C encoded ProRes footage.
A color gamut is the range of reproducible colors available on a certain device such as a display for example. A display may have a color gamut that exceeds a certain color space which itself is...
ALEXA's super clean color separation is particularly important for green screen and other VFX work. Nevertheless sometimes it is important to work with more pixels than used later in the final...
Material recorded in Rec 709 (short for ITU-Recommendation BT.709) has a display specific encoding or a, in other words, "what you see is what you get" characteristic. The purpose of a display...
The in-camera ARRI Look Library files are protected. You have to rename your exported look name before loading it back to the camera. Rename the exported “1110-1.aml” file to a different...
We showcase here the work of operators who shot with ARRI Camera Stabilizer Systems, and are happy to exhibit their work. This might be big movies, commercials, music videos, live productions, or...
