ARRI ALEXA Mini LF Ready to Shoot V-Mount Set (LPL) - Manual (Page 66)

Recording 66
MXF/ARRIRAW
ARRIRAW data delivers unencrypted, uncompressed and uncompromised image quality. It offers
the highest achievable resolution, the camera's natural color response and great exposure latitude
as uncompressed and unprocessed sensor data. ARRIRAW images have only one channel. A color
reconstruction algorithm calculates the missing components of each pixel based on the type and
position of the array of colored filters (Bayer pattern) on the camera sensor.
ARRIRAW de-bayering is available through the ARRIRAW SDK or custom processing, which is
implemented in most of the major post production tools for dailies processing and mastering.
ARRIRAW is used for cinema production, visual effects and high quality TV. It is the best format for
creative color correction and visual effects work.
The camera will automatically calculate a CRC32C checksum for the image data inside each
ARRIRAW frame. This checksum is recorded as part of the image header and can be used by software
like ARRI Meta Extract, to verify that the ARRIRAW image content has not changed during any copy
step. Note that this checksum does not validate the entire file, only the image data itself.
MXF/Apple ProRes
Recording in Apple ProRes is a cost efficient alternative to shooting ARRIRAW, as it requires less
storage space and no further processing in post. The camera supports following Apple ProRes flavors:
MXF/Apple ProRes 422 HQ Use for high quality TV production. Suitable for creative color cor-
rection.
MXF/Apple ProRes 4444 Use for high quality TV and cinema production. Very suitable for
creative color correction and visual effects work such as pulling
mattes.
MXF/Apple ProRes 4444 XQ The ideal choice for productions that are shooting for premium
image quality, are looking for extreme color grading and want to
preserve the superior tonal range of ARRI's Log C signal.
Playback for MXF wrapped Apple ProRes clips has been added to macOS by Apple via their Pro Video
Formats 2.1 back in January 2019. MacOS 10.14.3 or later is mandatory for this installer package. Find
out more at: https://support.apple.com/kb/DL1988
File Structure
After a Codex Compact Drive was formatted in the camera, it is named ARRI_UDF until the first clip is
recorded. Once a clip has been recorded, the name changes to the camera index letter and current reel
number, which can be preset in the PROJECT menu. Clips are stored in a folder with the same name
as the media.
The ALE file is an Avid Log Exchange file for Media Composer. It contains all static clip metadata,
which is also embedded in each recorded clip.
Selection in Camera Menu
1. Select Menu > Recording > Recording Codec
You have the following options:
Recording Codec Color Coding Bit Rate (VBR, 24fps,
3840x2160)
MXF/Apple ProRes 422 HQ 10bit YCbCr 705 Mbps
MXF/Apple ProRes 4444 12bit YCbCr 1058 Mbps
MXF/Apple ProRes 4444 XQ 12bit YCbCr 1608 Mbps