The Tool Desk
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To match an ARRI Film Lab look across ARRI and non-ARRI footage, normalize every camera to a known color space first, apply a generation-appropriate creative look in a common working space, and perform one consistent display transform for the delivery. A shared LUT or Film Lab preset cannot correct mismatched LogC generations, gamuts, exposure, white balance, or camera input transforms.
The reliable matching order
A mixed-camera grade becomes predictable when technical conversion and creative styling are kept separate. Use this order:
- Identify each source. Record the camera model, LogC generation or other log/raw encoding, gamut, codec, in-camera look, white balance, exposure information, and whether the clip is ARRIRAW or Apple ProRes.
- Normalize the inputs. Decode raw material and apply the correct input transform for each camera so the sources arrive in the same working color space.
- Balance the images. Match exposure, white balance, contrast, saturation, skin tones, and key production colors before adding the film treatment.
- Apply the creative look. Use a LogC3 or LogC4 look asset that matches the source generation, or use Film Lab after normalization.
- Render for the target. Apply a single, known display or output transform for the intended SDR or HDR delivery and viewing color space.
Evaluate actual frames through the final viewing transform. Two clips can share a creative LUT and still look different if their input encoding, exposure, lighting, lens characteristics, or sensor response were not aligned.
Why LogC generation matters
ARRI’s LogC families are not interchangeable labels. The older LogC3/AWG3 workflow belongs to earlier ALEXA and AMIRA generations, while LogC4/AWG4 is associated with the ALEXA 35, ALEXA 35 Xtreme, and ALEXA 265 families. A look built for one generation should not be dropped onto the other without a deliberate conversion or visual redesign.
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LogC3 and ALF2
LogC3 footage is commonly paired with ARRI’s older ALF2 look-file workflow. A LogC3 show LUT expects LogC3-encoded image data and the corresponding gamut. If the clip is from a third-party camera, it still needs that camera’s own input transform before a LogC3 creative asset can be used meaningfully; changing a file’s metadata label does not perform the conversion.
LogC4 and ALF4
LogC4 is used by the REVEAL color science associated with newer ALEXA models. ARRI’s Color FAQ describes a LogC4 creative LUT as a LogC4-to-LogC4 transform based on actual LogC4 footage. That means the creative LUT is intended to modify normalized LogC4 data, not to replace the camera-to-LogC4 conversion or the final display render.
ARRI’s recommendation for legacy show LUTs
ARRI says: “If you have a LogC3-based show LUT, we suggest completely redesigning/visually matching these for cameras using REVEAL color science (ALEXA 35 or newer).” Treat this as a visual matching or redesign task, not as permission to apply the old LUT unchanged.
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Create a clip-level inventory before choosing a look. A spreadsheet, media-pool flag, or timeline note is sufficient if it captures the information that affects color management.
| Item to record | Why it affects the match |
|---|---|
| Camera model and firmware-era color science | Determines which gamut, transfer function, and look assets are valid. |
| LogC3/AWG3, LogC4/AWG4, or another manufacturer’s log/raw encoding | Defines the input transform required before a common creative look. |
| ARRIRAW or Apple ProRes | Controls whether ARRIRAW development tools can be used and what metadata is available. |
| Recording gamut and debayer settings | Changes color volume, highlight behavior, and the result of normalization. |
| In-camera look, CDL, white balance, and exposure metadata | Prevents an applied look from being mistaken for the camera’s neutral image. |
| Scene, lens, filtration, lighting, and intended reference frame | Separates technical mismatch from genuine photographic differences. |
| Delivery color space and display type | Determines the output or display transform used to judge the grade. |
Keep the original media and metadata intact. Make normalized derivatives or color-managed timeline versions rather than baking an irreversible look into camera originals.
Choose a normalization route
There is no single conversion recipe for every manufacturer’s format. Choose one route for the project, document it, and keep all departments on the same interpretation of the media.
ARRI and REVEAL processing
ARRI’s ARRIRAW SDK can develop supported older ALEXA and AMIRA LogC3 ARRIRAW into LogC4 for a REVEAL workflow. This is a specific ARRIRAW path. ARRI states that the conversion cannot be performed with Apple ProRes footage, so a ProRes recording cannot be sent through the SDK and treated as if it were ARRIRAW.
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For newer REVEAL camera files, use the camera’s LogC4/AWG4 interpretation and an appropriate LogC4 working path. Confirm the exact camera and recording mode in the current ARRI documentation before rendering dailies or creating show LUTs.
ACES
ACES provides a vendor-neutral common framework. ARRI says ACES simplifies matching images from different sources and describes creative and technical decision points at the show look, on-set grade, VFX pre-grade, and final DI grade. In practice, assign the correct input transform for every camera, work in the selected ACES space, apply the creative look there, and use the ACES output transform for the delivery.
ACES does not make cameras identical automatically. Exposure, white balance, lighting, lenses, filtration, sensor response, and the choices made during balancing still determine how close the shots become.
Application-managed color pipelines
A grading application can also manage the project without ACES. Set the project working space, assign camera-specific input transforms, place the creative look at a defined node or layer, and reserve the output transform for the final stage. This can work well when the facility has a tested pipeline for the camera formats in the edit.
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| Route | Best fit | Important limitation |
|---|---|---|
| ARRI/REVEAL processing | ARRI material where the supported ARRIRAW-to-LogC4 path is desirable. | The documented LogC3-to-LogC4 conversion is for supported ARRIRAW, not Apple ProRes. |
| ACES | Projects combining several camera manufacturers and handoffs to VFX or multiple facilities. | Each camera still needs an accurate input transform and scene-level balancing. |
| Application-managed color | Teams with a controlled grading application and established camera transforms. | Inconsistent project settings or node order can produce different renders between operators. |
Keep the creative look separate from display rendering
A reusable ARRI look should describe the creative treatment, not silently include every display conversion. ALF4 uses a creative Log-to-Log color-management transform and a separate display-rendering or output-color decision. Preserve that separation when building a node tree, LUT chain, or look preset.
Creative stage
Place contrast shaping, color separation, palette decisions, and other look intent in the common scene-referred or log working space selected for the project. A LogC4 creative asset belongs after LogC4 normalization; a LogC3 asset belongs after LogC3 normalization unless you have deliberately redesigned it for another input.
Display stage
Apply the output transform once, at the end of the pipeline, for the target display and color space. SDR and HDR deliveries require different output decisions. Do not judge an unrendered log image on a regular display and then compensate by baking a display transform into the creative LUT.
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What should stay outside a creative 3D LUT
ARRI’s workflow guidance says spatial tools such as shapes, blurs, denoise, and grain should be excluded from the creative 3D LUT because they cannot be incorporated reliably there. Keep those operations as separate, ordered stages. This also applies to effects whose behavior depends on resolution, tracking, temporal context, or the final display size.
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Step-by-step mixed-camera workflow
1. Lock the viewing conditions
Choose the delivery target first: for example, an SDR or HDR master, its color space, and the reference display used for review. Configure the project monitor and output transform before making creative judgments.
2. Separate clips by input family
Group LogC3/AWG3, LogC4/AWG4, ARRIRAW, and each third-party camera’s log or raw format. Do not use a single generic “log” setting for all of them.
3. Decode raw media consistently
For ARRIRAW, set the intended debayer and metadata interpretation before the color transform. If using the documented older-ARRI ARRIRAW route into LogC4, perform that conversion before applying LogC4 creative assets. Do not attempt the same SDK conversion on Apple ProRes.
4. Assign each camera’s input transform
Use the transform supplied or validated for the exact camera, recording mode, gamut, and encoding. For third-party material, the official ARRI guidance does not provide one universal transform; rely on the camera manufacturer’s transform or a tested color-management implementation.
5. Establish a neutral baseline
Balance representative shots before applying the film look. Correct exposure and white balance, set a useful contrast range, and check neutral objects, skin tones, saturated production colors, and highlight roll-off. Use a reference frame from the principal camera rather than trying to make every camera’s ungraded image identical.
6. Match the cameras in the working space
Use printer-light-style adjustments, curves, selective color, or a color chart when available. Match the subject and scene, not only a gray patch: lens transmission, flare, depth of field, motion rendition, and lighting can create differences that color alone cannot remove.
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7. Apply the generation-matched look
Use the LogC3 or LogC4 asset that corresponds to the normalized data. If the project combines a legacy LogC3 show LUT with REVEAL footage, create a dedicated visual match or redesign instead of assigning the old LUT directly to the newer camera.
8. Add optional film characteristics
After normalization and primary matching, add Film Lab or another approved film-emulation layer. Keep grain, halation, and gate weave in separate, controllable stages when the delivery or shot requires different intensities.
9. Apply the output transform
Render through the selected SDR or HDR output transform and inspect the result on the target viewing setup. Check near-black detail, highlight clipping, skin tones, saturated reds and blues, and any VFX composites.
10. Validate handoffs
Export a short test containing every camera family, a neutral scene, skin tones, mixed lighting, and high-saturation colors. Reopen the rendered media in the editorial and VFX applications to confirm that the transform has not been applied twice or omitted.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.Using ARRI Film Lab with mixed footage
Film Lab is an optional film-character tool rather than a camera-normalization system. ARRI says it processes RGB images from ARRI and third-party cameras and supports LogC3/AWG3, LogC4/AWG4, and ACES 2.0. Feed it consistently interpreted material; do not expect the plugin to repair an incorrect camera input transform.
Film Lab’s creative controls
- Negative-stock grain references: 50D, 200T, and 500T. These are selectable emulation references, not measured performance ratings.
- Color characteristics: print, reversal, and bleach-bypass options.
- Physical-style effects: halation and gate weave.
Apply the same Film Lab treatment only after the clips share a working-space interpretation. A single preset can then provide a coherent film-emulation layer, while shot-level controls compensate for exposure or scene differences.
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ARRI lists Resolve, Baselight, and Nuke among compatible grading environments. Film Lab is a paid, license-based OpenFX plugin available through RE:Vision Effects, with individual weekly, monthly, annual, or permanent license options listed on ARRI’s current product page. Availability, supported hosts, and purchase terms can change, so verify the current product information before committing a facility-wide workflow.
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Where to place Film Lab
Place Film Lab after camera input normalization and primary balancing, then make the final display transform according to the host application’s color-management design. If Film Lab is inserted before normalization, its grain and color response are being driven by inconsistent signal levels and gamuts, which defeats the purpose of a shared treatment.
Comparing practical workflow choices
| Decision point | ARRI generation-matched workflow | ACES workflow | Application-managed workflow |
|---|---|---|---|
| Input compatibility | Strong for the relevant LogC generation and supported ARRI media. | Can combine ARRI and third-party formats when input transforms exist. | Depends on the application’s camera-transform library and facility setup. |
| Look format | ALF2/LogC3 or ALF4/LogC4, selected by source generation. | Creative look is built or converted for the chosen ACES working space. | Defined by the project color space and node or layer order. |
| ARRIRAW handling | Can use the documented ARRIRAW SDK route for supported older LogC3 material. | Raw is decoded, then sent through its ACES input transform. | Raw is decoded and transformed using the application’s configured pipeline. |
| Apple ProRes handling | Cannot use the ARRIRAW SDK’s LogC3-to-LogC4 conversion path. | Use the correct ProRes camera input transform. | Use the application’s validated ProRes interpretation. |
| Display rendering | Keep the creative CMT separate from the DRT/output decision. | Use the selected ACES output transform for the delivery. | Use one documented output transform at the final stage. |
| Best reason to choose it | A predominantly ARRI production with a known generation-specific look pipeline. | A mixed-camera project with substantial VFX, editorial, or facility handoffs. | A controlled team with established transforms and a single grading platform. |
Common failure modes and fixes
The image looks flat or milky
Log footage is not intended to be viewed directly on a regular display. Confirm that the camera input transform and output/display transform are both present and that the monitor is not receiving an unrendered log signal.
The same LUT gives different colors on two cameras
Check the input encoding and gamut first. A LUT cannot substitute for camera-specific normalization. Then compare exposure, white balance, lighting, lens filtration, and sensor response before changing the creative look.
A LogC3 show LUT looks wrong on an ALEXA 35
The ALEXA 35 uses REVEAL color science and LogC4/AWG4. Rebuild or visually match the look for LogC4 rather than assigning the legacy LogC3 LUT unchanged.
The ARRIRAW SDK conversion is unavailable
Verify that the clip is supported ARRIRAW from an older ALEXA or AMIRA workflow. Apple ProRes is not eligible for the documented SDK LogC3-to-LogC4 conversion, so use the appropriate ProRes input transform instead.
Grain or halation changes between shots
Check that Film Lab receives consistently normalized images and that exposure compensation is not occurring before the effect on only some clips. Keep spatial and resolution-dependent effects outside a reusable creative 3D LUT.
The grade matches in the suite but not in editorial or VFX
Look for a second input or output transform. Document whether the exported media is scene-referred, display-referred, or already rendered, and make every receiving application use the corresponding interpretation exactly once.
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They require different output decisions. Keep the creative look in the common working space and create separate, tested display renders rather than baking an SDR transform into the look.
Checks before final delivery
- Every clip has a recorded camera, encoding, gamut, and raw/codec interpretation.
- LogC3 and LogC4 assets are not mixed without an intentional conversion or redesign.
- Third-party footage has a camera-specific input transform, not a generic log setting.
- ARRIRAW SDK processing has not been attempted on Apple ProRes.
- Exposure and white balance were balanced before the creative look.
- The creative look is separate from the display or output transform.
- Grain, halation, gate weave, denoise, blur, and shapes remain controllable operations rather than being hidden in a 3D LUT.
- Film Lab is applied only after source normalization.
- All shots have been judged through the intended SDR or HDR viewing transform.
- Editorial, VFX, and final-DI handoffs specify whether transforms are baked in or expected downstream.
There is no published universal cross-camera matching tolerance or time figure in the official ARRI material covered here. The defensible standard is a documented pipeline and visual validation of representative frames under the actual delivery transform.
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