Photo from using ARRI's professional film production tools to represent the Arri sample footage .

Camera Sample Footage & Reference Image

Demo shots and reference images for workflow tests

  • Camera Sample Footage

    On this website ARRI provides sample footage, shot on ALEXA 35, ALEXA Mini LF, ALEXA LF, ALEXA Mini, ALEXA 65, and AMIRA. ALEXA SXT & XT sample footage is only available on our FTP. 

    The shots are intended for anyone who wants to test a workflow with ALEXA or AMIRA cameras with ProRes and/or ARRIRAW files. For example, to test LUTs for converting from LogC to Rec709, or to check how each of the different formats the ALEXA camera has to offer is best handled in different systems. Please note that this sample footage was created for workflow evaluation purposes.

    For details please see our Sample Footage Technical Information.

    All links for our sample footage lead to Frame.io. Online preview of MXF/ARRIRAW (or zipped ARRIRAW) is not supported.
    Please scroll down for FTP access. 

    The LogC4 reference image was captured with an ALEXA 35. All files were debayered by using our ARRI Reference Tool, which always includes the latest ARRI Image SDK. These files can be used as reference images in post-production, or for look-creation.


    ALEXA 35 Footage

    The ALEXA 35 sample footage SUP 1.2 has been shot in a saw mill in Lower Bavaria. We've used a Signature Zoom 24-75mm and a Signature Prime 95mm for the spherical shots, as well as a Master Anamorphic 40mm for the anamorphic shots. The specialty S16 mode was shot using a 6mm Ultra16 prime.

    Both, ARRIRAW and Apple ProRes files of the ALEXA 35 are stored as MXF files, so you can download each clip separately. After clicking on the links below you have the option to select one or more shots for download.
    All ARRIRAW files a.

    A picture of the sun setting over the Pacific Ocean on the coast of Australia

    We have shot new reference images ("Helen and John") from both our ALEV3 and ALEV4 image sensors: the reference image for AWG4/LogC4 was captured with  ALEXA 35 in MXF/ARRIRAW. In terms of texture we used "K445 Default" — the standard texture for ALEXA 35. The reference image for AWG3/LogC3 was captured with an ALEXA Mini LF in MXF/ARRIRAW.
    The OpenEXR files were debayered with our ARRI Reference Tool and are available as Scene Linear in ACES AP0 and AWG4. Please ensure using a correct color tagging in your application before using them. 
    The TIFF files were debayered with our ARRI Reference Tool. The focal length difference is related to the difference of large-format vs. S35 sensor size (crop factor).




    Two people on the arri raw camera footage. (alexa 35 footage)

    ALEXA Mini LF Footage

    For our ALEXA Mini LF clips we’ve shot two different types: MXF/Apple ProRes 4444 and MXF/ARRIRAW. For all MXF/ARRIRAW clips we also offer a High Density Encoding (HDE) variant which was generated during the offload.

    Each clip is shot with the following settings if not otherwise noted (see pdf): 24 fps, 800 ASA, custom WB; shooting gamma is Log C wide gamut.

    The clips run for about 10 seconds, each with 2-channel audio.



    Image showing a workshop with a drilling machine, drillbit and some chips in focus

    ALEXA LF Footage

    For ALEXA LF we shot samples in our Munich showroom; for reasons of comparability we repeated the same scene over and over with different recoding modes. We’ve used all three sensor modes and shot all possible recording resolutions in their respective formats (ProRes 4444 or ARRIRAW). The clips have been shot with the following settings (unless otherwise stated): 24 fps, 800 ASA, 3200K; shooting gamma for all clips is Log C. Most clips run for about 10 seconds each with 2-channel audio.

    You can get hold of the full set of metadata by extracting it from the corresponding file’s header using ARRI Meta Extract.

    ARRIRAW-HDE (ARRIRAW with High Density Encoding):

    In addition to the standard ARRIRAW, we've also prepared the same ARRIRAW sample footage with HDE (High Density Encoding) here:



    Photo of a living-room/office setup with unsharp objects in the foreground

    ALEXA Mini Footage

    All clips were captured with a production model ARRI ALEXA Mini camera. We’ve shot two different types of clips: QuickTime ProRes 4444XQ and MXF/ARRIRAW.

    Each clip is shot with the following settings if not otherwise noted: 24 fps, 800 ASA, 5600K; shooting gamma for all clips is Log C.

    The clips run for about 10 seconds each with 2-channel audio.



    Image showing the main building of the Botanic Garden of Munich in early December

    AMIRA Sample Footage

    ARRI provides ProRes sample footage shot on an AMIRA camera with a release version of SUP 1.0/3.0 and MPEG-2 shot with a release version of SUP 3.0.

    Please note that this sample footage was created for workflow evaluation purposes.

    ProRes: HD and 2K clips
    We’ve shot two different ProRes flavors: ProRes 422 – “Video Workflow” and ProRes 4444 – “Postproduction Workflow” in two resolutions: HD and 2K. Each resolution is available in every project speed (i.e. timecode base set to 23.967p, 24p, 25p, 29.97p, 30p, 48p, 50p, 59.94p, 60p, 50i, 59.94i, and 60i). Project speed 29.97p is available as non-drop frame as well as drop frame time code clip-set. So each project speed folder contains a similar set of six clips.

    The clips have been recorded either in the Log C wide gamut color space or by using the built-in Rec 709 look file for conversion to HD video color space. You can get hold of the full set of metadata by extracting it from the corresponding file’s header. We used a Fujinon Cabrio 19-90 Zoom for all “sets of six clips” and an ARRI/Fujinon Alura 30-80 Lightweight Zoom for the high-speed clips.

    ProRes: 3.2K and 4K UHD clips
    For these higher resolution formats we chose ProRes 4444 as our go-to codec, recording straight to Rec 709 color space. For reasons of simplicity we only recorded 25 fps sensor speed/25p project speed. We used a Zeiss Compact Zoom 70-200 at T4.0 in combination with a FSND 1.2 filter and a rotating polarizer.

    For each project rate we shot two different AMIRA look samples:

    • Look 1: REC-709 (Standard ARRI Rec 709)
    • Look 2: LCC (Low Contrast Curve). LCC creates an image with flat contrast curve and desaturated colors for more color grading capabilities as in standard Rec 709 images


    Picture of a Rumpler C IV airplane taken from the back on the left side.

    ALEXA 65 Footage

    All three ALEXA 65 clips were shot with project rate 23.98 in ARRIRAW Open Gate format. One clip is in sync speed, the other two in 60 fps high speed. ARRI Rental Prime 65 lenses were used in the 28, 50, and 80 mm focal lengths.

    For each clip, a 2K ProRes QT proxy is available. The original metadata of the ARRIRAW 65 footage is stored in the QT proxy as well.


    Topshot of the streets of New York; shot from a Helicopter

    FTP Access

    ALEXA and AMIRA sample footage is also available for download via our FTP server. Please use a FTP client software such as FileZilla or please check here for others.

    For ALEXA clips:
    Server:         ftp2.arri.de
    User:             ALEXA
    Password:   samplefootage

    For AMIRA clips:
    Server:         ftp2.arri.de
    User:             AMIRA
    Password:   samplefootage

    Please note: select “Use explicit FTP over TLS if available” for Encryption. For additional information download the Sample Footage Technical Information.

    If you have any further questions regarding this test footage or the ALEXA camera, please feel free to contact us at digitalworkflow@arri.de.

  • Helen & John | Reference Image

    We have shot new reference images ("Helen and John") from both our ALEV3 and ALEV4 image sensors: the reference image for AWG4/LogC4 was captured with  ALEXA 35 in MXF/ARRIRAW. In terms of texture we used "K445 Default" — the standard texture for ALEXA 35. The reference image for AWG3/LogC3 was captured with an ALEXA Mini LF in MXF/ARRIRAW.
    The OpenEXR files were debayered with our ARRI Reference Tool and are available as Scene Linear in ACES AP0 and AWG4. Please ensure using a correct color tagging in your application before using them. 
    The TIFF files were debayered with our ARRI Reference Tool. The focal length difference is related to the difference of large-format vs. S35 sensor size (crop factor).




    Two people on the arri raw camera footage. (alexa 35 footage)

    FTP Access

    Our Reference Image for LogC4 is also available for download via our FTP server. Please use a FTP client software such as FileZilla or please check here for others.


    Server:         ftp2.arri.de
    User:             ALEXA
    Password:   samplefootage
    Subfolder:   /reference image/


    Please note: select “Use explicit FTP over TLS if available” for Encryption. 

    If you have any further questions regarding our reference images, please feel free to contact us at digitalworkflow@arri.de.

  • Encounters sample LogC4 clips

    Please find below a list of clips we provide on our website for download for you to test ALEXA 35 clips for grading evalutions. Since these ALEXA 35 clips were shoot with an early software version of the camera, we debayered tiff sequences to ensure that the right LogC4 signal is provided. Please ensure that the clips are tagged correctly as AWG4/LogC4.

    Encounters sample LogC4 | Workflow Guideline

    Proxy Files | H.264 MP4

    HighRes TIFF Files | TAR container