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ARRI Film Lab is a licensed OpenFX postproduction plugin for adding adjustable film characteristics to digital RGB images. To keep those characteristics consistent across cameras, first standardize each source into a known color-managed working space and viewing transform. Only then choose Film Lab’s film-format starting point and tune grain, color, halation, detail, anamorphic squeeze, and gate weave.
ARRI says Film Lab can complement an existing LUT or grade and deliver consistent results from mixed-camera material. That is a product claim, not a promise that the plugin automatically fixes mismatched camera transforms, timeline settings, or monitoring. The repeatable result comes from documenting both the project pipeline and Film Lab settings.
What ARRI Film Lab does
Film Lab emulates selected analog-film cues after your camera material has entered the postproduction pipeline. ARRI describes it as an OpenFX plugin that processes RGB images and provides controls for film-like grain, color, halation, and gate weave. It is software, not a physical film stock, camera accessory, or replacement for a camera’s color transform.
ARRI lists Resolve, Baselight, Nuke, and other OpenFX-capable environments as compatible hosts. The product page also describes support for LogC3/AWG3 and LogC4/AWG4 workflows and real-time 4K processing. Those are ARRI specifications; actual playback depends on the host, GPU, timeline settings, source resolution, and the rest of the node or layer stack.
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What Film Lab does not do by itself
- It does not identify every camera’s correct input transform automatically.
- It does not replace an output transform for a cinema projector, broadcast master, web delivery, or other target.
- It does not make an uncalibrated monitor a reliable reference.
- It does not guarantee identical results when clips use different log encodings, gamut definitions, exposure levels, or host color-management rules.
- Its grain, halation, and weave are emulations. They should not be described as a physical reconstruction of a particular photochemical stock or laboratory process.
Set the project pipeline before adding the look
A look can only be consistent when the image entering the look processor is consistent. Write down the camera sources, their recorded color spaces, the host application, the timeline or working space, and the monitoring and output transform before you adjust Film Lab.
Inventory the source cameras
For every camera family, record whether the clips are LogC3/AWG3, LogC4/AWG4, ARRICORE, ARRIRAW, ProRes, or another codec and color encoding. ARRI’s original Film Lab announcement also named third-party codecs as compatible source material. Compatibility with a codec does not remove the need to choose the correct input transform for that codec and camera.
Separate camera matching from creative styling. If one camera is two stops darker, has a different white balance, or uses a different gamut, correct those technical differences before asking Film Lab to make the images look like the same film print.
Choose a single working and viewing condition
Decide whether the project is managed in the host application’s timeline space or in an ACES pipeline. Film Lab supports LogC3/AWG3 and LogC4/AWG4 workflows. Film Lab 1.5, announced October 12, 2026, adds ACES 2.0 ACEScc and ACEScct input and output options.
Keep the display or output transform fixed while judging shots. Comparing one clip through a Rec. 709 view transform and another through a wide-gamut HDR transform can make the same Film Lab settings appear to be different looks.
Normalize before you compare
Apply the appropriate input transform for each camera into the chosen working space, then compare clips under the same viewing transform. This ordering is practical workflow guidance based on Film Lab’s documented color-managed support; ARRI does not prescribe one universal node order for every host.
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Place Film Lab where its input and output expectations are explicit in your node tree or layer stack. A common approach is to perform camera normalization first, apply Film Lab in the managed working space, and apply the display or delivery transform afterward. If your facility uses another order, document it and keep that order unchanged for every camera.
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Install and verify the plugin
- Install the Film Lab version approved for the project and confirm that the host application sees its OpenFX plugin.
- Verify the license before a grading session. ARRI names RE:Vision Effects as a sales channel; check that channel for current license terms and upgrade conditions.
- Open a known test clip in the host and confirm that Film Lab exposes the expected input and output color-space choices.
- Record the exact Film Lab version, host version, operating-system image, and GPU configuration in the project notes. Version-specific controls can change how a look is reproduced.
Do not treat a high-resolution playback statement as a guaranteed benchmark. ARRI describes real-time 4K processing, while the actual result depends on the complete timeline and hardware.
Step-by-step: build a repeatable Film Lab look
1. Create a representative test reel
Collect a short set of shots from every camera and from the conditions that matter to the production. Include a neutral daylight shot, mixed or tungsten light, a close-up with skin, a high-contrast exterior, deep shadows, fine texture, and saturated colors. Include any lens or filtration combinations that will recur.
Place these shots in one timeline with the same frame rate, resolution, working space, and viewing transform used for the show. This reel is your reference whenever the look is revised or another camera is added.
2. Confirm technical normalization
Before opening Film Lab, check exposure, white balance, black level, and gamut handling. A gray card or color chart can help identify a camera mismatch, but it does not select the creative film look for you. Correct obvious technical errors in the camera-specific stage of the grade.
3. Add Film Lab in a documented location
Apply the plugin to the normalized image, not to a mixture of untransformed log clips and already-viewed clips. If you use multiple nodes or layers, label the Film Lab stage and note whether any contrast, saturation, or look LUT appears before or after it.
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4. Select a film-format starting point
Film Lab 1.5 offers 8 mm, 16 mm, 35 mm, and 65 mm starting points. Treat these as creative baselines rather than claims that the image will behave exactly like a scanned print from that gauge. Choose the format that supports the intended texture, then adjust the controls while watching the representative reel.
5. Set grain scale and detail together
In version 1.5, Grain Size and Rendition of Detail each have a range of 0.75 to 1.5. Grain Size changes the apparent scale of the grain structure. Rendition of Detail changes perceived sharpness or definition. Evaluate the two controls together: increasing detail while enlarging grain can create a different impression from changing either control alone.
6. Shape color, halation, and weave for the story
- Color: use the color controls to establish the broad stock/process character after technical balance is correct.
- Halation: use the red or orange glow around bright areas as a restrained cue for practical lights, windows, or hot highlights. Version 1.5 adds Halation Spread, while Halation Intensity ranges from 0.0 to 2.0.
- Gate weave: add simulated frame movement only when the project benefits from it. Excessive movement can distract from dialogue, graphics, or VFX alignment.
- Anamorphic Ratio: version 1.5 provides eight squeeze-ratio choices from 1.25x to 2.0x. Select a ratio that supports the intended optical character; it does not replace a geometric lens-de-squeeze or change the source camera’s recorded pixels.
7. Use the Look Library as a starting point, not a substitute for matching
ARRI says its Look Library contains 87 predefined creative color gradings, each available in three intensities. A special Look Library plugin version is bundled with Film Lab. Use a predefined look to explore direction quickly, then check it against the camera-matching reel and refine Film Lab’s parameters where needed.
Preset intensity is not a technical exposure correction. If a preset makes one camera appear brighter or more saturated than another, fix the input normalization rather than compensating with unrelated creative controls.
8. Compare under fixed conditions
Toggle the Film Lab stage on and off while keeping the same viewing transform, monitor brightness, and timeline scaling. Then compare the same setting across cameras. Inspect skin, specular highlights, shadow color, fine detail, and saturated red, blue, and green objects at both full-frame and 100-percent viewing.
Look for a consistent relationship rather than identical pixels. Different lenses, exposures, and sensor responses can remain visible even after a shared film treatment. The goal is for the chosen film character to remain recognizable without one camera requiring a visibly different creative recipe.
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9. Lock and communicate the recipe
Save the project or grade in the host’s normal format, and place a plain-text recipe in the production notes. Record:
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- Camera model, recorded log or gamut format, and input transform for each source.
- Timeline or working color space and display/output transform.
- Film-format starting point.
- Grain Size and Rendition of Detail values.
- Color, halation, Halation Spread, Halation Intensity, Gate Weave, and Anamorphic Ratio values.
- Any Look Library look and its selected intensity.
- Exceptions for shots that require a separate trim.
This record makes the look reproducible without relying on memory. It is a documentation practice, not a claim that Film Lab provides a particular preset-export feature.
Film Lab 1.5 controls and additions
| Feature | Version 1.5 detail | How to use it for consistency |
|---|---|---|
| Film-format starting points | 8 mm, 16 mm, 35 mm, and 65 mm | Choose one project baseline before making shot-level trims. |
| Grain Size | Range 0.75–1.5 | Keep grain scale stable across cameras; adjust only when a deliberate format change is intended. |
| Rendition of Detail | Range 0.75–1.5 | Use with grain scale while monitoring fine texture and faces. |
| Anamorphic Ratio | Eight choices from 1.25x to 2.0x | Document the selected ratio and keep it separate from technical lens de-squeeze. |
| Halation Spread | Added in version 1.5 | Control how far the highlight glow extends; check bright practicals and skin highlights. |
| Grain Intensity | Range 0.0–2.0 | Set a show-wide baseline, then make restrained shot trims. |
| Halation Intensity | Range 0.0–2.0 | Use the same reference highlights when matching cameras. |
| ACES support | ACES 2.0 ACEScc and ACEScct input/output options | Match the option to the project’s ACES working space and document the transform path. |
| Performance | ARRI says version 1.5 is up to four times faster | Treat this as ARRI’s claim; measure your own timeline before committing to playback expectations. |
The ranges and speed statement above are specific to Film Lab 1.5 and come from ARRI’s October 12, 2026 announcement. They should not be assumed to describe earlier releases.
Keeping mixed-camera material consistent
Use a camera-first correction, then a shared creative stage
Build a camera-specific input section for each source family. Match exposure, white balance, tone, and gamut there. Feed the normalized images into a shared Film Lab stage whenever possible. This keeps the creative recipe stable while allowing technical corrections where the cameras genuinely differ.
Judge difficult areas deliberately
- Skin: check hue and saturation in both soft and hard light.
- Highlights: inspect windows, lamps, and chrome for excessive halation or clipped color.
- Shadows: watch for one camera becoming noticeably cooler, denser, or noisier.
- Fine detail: compare hair, fabric, foliage, and text after changing Rendition of Detail.
- Saturated colors: inspect warning signs of gamut compression or a camera-specific transform error rather than trying to solve them with grain.
Separate global decisions from shot trims
Set the film format, broad color character, grain baseline, and halation behavior globally. Use shot-level changes only for exposure, unusual lighting, or a clearly documented creative exception. If every shot from one camera needs a different Film Lab recipe, revisit that camera’s input transform first.
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Film Lab versus a conversion LUT
ARRI describes LUTs as a way to manipulate image data and convert LogC into a viewable or otherwise required format. That is a technical or display-conversion role. Film Lab’s stated role is adjustable film character: grain, color, halation, and weave. A LUT may establish the viewing or delivery transform; Film Lab can then provide the creative treatment, provided the order is documented and consistent.
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Film Lab versus the ARRI Look Library
The Look Library is designed for predefined looks and rapid exploration, with 87 looks and three intensities according to ARRI. Film Lab 1.5 adds finer controls for film-format starting points, grain scale, detail rendition, anamorphic ratio, halation spread, and intensity. Use the library when a defined starting direction is useful; use the individual controls when the production needs a repeatable, custom balance across cameras.
Axes to use when comparing setups
- Input color space and transform for every camera.
- Host compatibility and timeline color management.
- Film-format starting point and available creative ranges.
- Playback and render behavior on the project’s hardware.
- How easily one recipe can be applied across mixed-camera material.
- Whether any desired on-set preview feature is supported by the installed camera firmware.
On-set preview and camera-firmware qualification
ARRI’s product information describes on-set preview simulations for ARRICORE or ARRIRAW on the ALEXA 35 Xtreme or ALEXA 35 as requiring a forthcoming camera firmware update. The original November 2025 announcement anticipated an update during the first quarter of 2026, but the current rollout status is not established by the product information cited here. Before promising this workflow to a production, check the camera’s current firmware release notes and verify the feature on the exact body and recording mode.
Do not treat a postproduction Film Lab license as proof that an on-set preview is available. The camera firmware, recording format, and monitoring path must all support the feature.
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The same settings look different on two cameras
- Confirm that both clips use the intended camera-specific input transform.
- Check that they enter the same timeline or working space.
- Verify that the display/output transform and monitor condition are identical.
- Compare exposure and white balance before changing Film Lab controls.
- Only then make a documented camera trim if the sensor or lens response remains visibly different.
Grain overwhelms faces or fine detail
Reduce Grain Intensity first, then reassess Grain Size and Rendition of Detail together. Check the image at the delivery resolution; a setting that looks subtle at 4K may dominate a smaller web or broadcast raster.
Halation looks like a colored outline
Lower Halation Intensity, reduce Halation Spread, and inspect bright edges at normal viewing size. If the artifact appears only in one camera, check that camera’s highlight handling and input transform before changing the show-wide setting.
Playback is not real time
Render a short section with the final resolution and node stack. Disable unrelated heavy effects to identify the bottleneck, then use optimized media or caching according to the host’s normal workflow. ARRI’s “up to four times faster” statement for version 1.5 is not an independent benchmark and does not predict every system.
ACES images appear different after upgrading
Verify that the project is using ACES 2.0 and that the Film Lab 1.5 ACEScc or ACEScct option matches the actual working space. Recheck input and output transforms rather than copying numeric settings from a non-ACES project.
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- Every source camera has a named input transform.
- The timeline or ACES working space is written in the grade notes.
- The viewing and delivery transform is fixed for comparisons.
- Film Lab’s version and host are recorded.
- One film-format starting point is selected and named.
- Grain, detail, color, halation, weave, and anamorphic settings are documented.
- A representative reel has been checked for skin, highlights, shadows, detail, and saturated colors.
- Shot-level exceptions are labeled instead of silently changing the global recipe.
- Any on-set preview claim has been verified against current camera firmware documentation.
What the published testimonials establish
ARRI’s Film Lab page attributes a testimonial to cinematographer Stijn Van der Veken ASC, SBC, who calls it “the first time I’ve seen a film look plugin that really helps create a vintage look on a period drama.” ARRI also attributes a testimonial to Luisa Cavanagh, Colorist at Quanta Post, describing digital images that feel like real film, with rich shadows and crisp, organic detail. These are customer statements about creative experience, not independent image-quality tests or compatibility benchmarks.
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