This overview is work in progress and will be updated continuously.
Regulatory Documents
FAQ
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.
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...
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...
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 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...
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...
As with all ARRI digital cameras, we have very low latencies, which is important for serious professional work. The image coming out of the SDI outputs and the image in the MVF-2 viewfinder have...
Dive into ARRI's Impression Filters FAQ, where we unravel common queries around our advanced cine lenses. Explore now!
Yes, you can. Please click on the “Submit” button and fill out the form. There is a team which curates this page, and each entry will be taken into consideration. The more submissions, the...
Handheld 3-axis camera stabilizer system Up to 30 kg / 66 lb payload High torque brushless motors Takes cameras like: ALEXA LF, ALEXA Mini, AMIRA, ARRI LT, 235...
FSND stands for "Full Spectrum Neutral Density". These are filters that are significantly better than traditional ND filters, since they affect an attenuation over the entire visible and...
We showcase here the work of cinematographers who shot with ARRI Signature lenses and are happy to exhibit their work. This might be big movies (examples on this page include Academy, BAFTA, and...
The UDF file system used by all ALEXA cameras (except for ALEXA Mini) for ProRes recording has a QuickTime/ProRes file size limit of 229 GB. This limits the length of each...
Experience seamless zooming with ARRI's cmotion Steady Zoom pan bar zoom. Innovatively designed for perfection. Discover more now!
Apple already has an MXF plug-in available for MacOS X 10.14.3 or later that you can download as part of Apple's "Pro Video Formats 2.1". This allows the MacOS QuickTime Player, FCPX, Motion...
Discover ARRI's REVEAL Color Science, a leading image processing technology designed to enhance image quality and optimize workflows. Discover now!
ARRI always strives to deliver the best overall image quality. As part of that we’re continuously improving our color science. With the new ALEV4 sensor we've taken our color science through...
To get a good, correct color representation, you typically want to adjust the white balance of the camera to the lighting of your scene. As a result, the live output and recorded image of a...
