(Las Vegas, Nevada--April 19, 2016) With the ALEXA SXT cameras, ARRI is rolling out a new look management workflow that is already finding enthusiastic support from leading manufacturers of on-set color grading and digital dailies software.
ALEXA Product Manager Marc Shipman-Mueller explains: “Based on what we have learned, all the way from the ARRILASER to the ALEXA Mini, we have now created a system that supports a tight, end-to-end color workflow. Color can be easily tweaked on-set, color information from the set can be used in automated dailies creation, editors can see the same look the director saw, and in final grading there is no question anymore about the cinematographer’s intent. We have worked hard with our partners to ensure that this is automated and transparent to reduce complexity for the user."
The new ARRI Look Management workflow is based on the new ARRI Look File ALF-2. Created with the ARRI Color Tool or the ARRIRAW Converter -- both available as free downloads from the ARRI website -- this file contains a 3D LUT (Look Up Table), an ASC CDL (Color Decision List) and the name of the target color space (Rec 709, DCI or Rec 2020).
On the set, the new ARRI Look Management replaces the traditional LUT box, as the camera can directly apply a 3D LUT and CDL values to the viewfinder image or any of the three monitor outputs. Furthermore, the look of the image can be changed live on the set. The following products currently support this feature: Pomfort LiveGrade, Codex Live, colorfront On Set Live!, Filmlight Prelight and Technicolor DP Lights, with more in the works.
The look information is always stored as metadata with the recorded ARRIRAW or ProRes images, and can therefore be used to automatically apply the look when creating dailies or editing proxies. This is supported by BlackMagic Design Davinci Resolve, colorfront On-Set Dailies, Pomfort Silverstack and Filmlight Daylight, amongst others.
Even if no editing proxies are generated, (as is often the case for productions where time is of the essence), ALF-2 metadata is supported by Avid Media Composer, Apple Final Cut Pro X and Adobe Premiere Pro. Editors will view the images with the same look that the cinematographer and director see on set.
“We are very pleased with the initial response to our new color workflow,” adds Henning Rädlein, Head of ARRI’s Digital Workflow Solution group. “We offer the capabilities of our ARRI Color Tool as a free software library to third parties as part of our Partner Program, and are currently exploring even closer integration with the color pipelines of our partners. Furthermore, we will expand these capabilities to our ALEXA Mini and AMIRA line of cameras with future software updates.”
For live demonstrations of ARRI Look Management workflow and more, visit ARRI at NAB booth #C6537.
With headquarters located in Munich, Germany, ARRI was founded in 1917 and is the world's leading designer, manufacturer and distributor of motion picture camera, digital intermediate (DI) and lighting equipment. The ARRI group comprises a global network of subsidiaries and partners covering every facet of the film industry, including worldwide camera, grip and lighting equipment rental through ARRI Rental; turnkey lighting solutions through the ARRI System Group; and film production, postproduction, lab services, visual effects and distribution through ARRI Media. In 2013 ARRI Medical was founded to utilize ARRI’s core imaging technology and know-how for medical applications.
Manufactured products include the ALEXA 65, ALEXA SXT, ALEXA Mini and AMIRA cameras; Master Anamorphic lenses; SkyPanel, L-Series and M-Series lights; Pro Camera Accessories and the Electronic Control System; the ARRILASER recorder and ARRISCAN archive technologies; and the ARRISCOPE 3D digital surgical microscope. The Academy of Motion Picture Arts and Sciences has recognized ARRI’s engineers and their technical contributions with 18 Scientific and Engineering Awards.
For locations and more information please visit http://www.arri.com