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Dailies & Editorial Workflow

Online or offline workflow?

Dailies are a technical, yet color corrected and properly framed version of the clips shot each day. They bridge the work on set to prostproduction and are key for many steps to come. Generated during or at the end of a shooting day right after multiple back-ups of the Original Camera Negative (OCN) have been made, dailies present instant feedback to all departments and enable editorial to begin their work while the project is still shooting.

Head over to data handling if you're wondering, "Can I copy and paste?"

Editorial has one big question that must be answered in regards to the dailies: online or offline (or cloud)?

Online workflow
Editing with high-resolution OCNs. It requires the latest hardware (GPU and CPU) to get the best experience and the least frustration.

Offline workflow
For an offline editorial workflow (also in a cloud scenario), all OCN data must be transcoded into lower resolution proxy files. Editorial is done based on the proxy files. For final finishing one links back to the original high-res OCN in a later step of postproduction called conforming.

The re-online step needs proxys and OCNs to match in:

  • Source timecode
  • Clip name and/or reel name

If those don't match, a nightshift might be in order to get the online done.

Structure of file names

With the introduction of ALEXA 35, we updated the typical ARRI file naming scheme. Of course, our classic file naming is still widely used. Both naming schemes will coexist, as will the new and older cameras.

New File Naming (since 2022 – ALEXA 35 and later)
ALEXA 35 introduced a new, extended file naming to accommodate the needs of productions, based on feedback we have gathered over the years. The new naming provides 704 different options to set a camera index, 9,999 reels, and clips. In addition, an extended time stamp has been added, as well as a “Codec Identifier” to differentiate MXF/ARRIRAW and MXF/ProRes already on a file system base:

Classic File Naming (still in use)
The ALEXA Classic series, ALEXA Mini, AMIRA, ALEXA LF, ALEXA Mini LF, and ALEXA 65 will continue with the established file naming.

New Reel Name (folder name on the media)
The reel name follows the known scheme and consists of camera index, reel counter, and camera serial number.

Classic Reel Name (folder name on the media)
The reel name consists of camera index, reel counter, and camera serial number.

Adding color to the dailies

Besides the technical step of duplicating files to another location, when a full magazine leaves the camera, there's images that need our attention: footage that was shot on ARRI cameras needs to be converted to the correct color space to be displayed properly. Viewed on a regular video monitor, LogC3 and LogC4 images look flat, with desaturated colors. To get a grayscale characteristic and color reproduction that is more pleasing to the eye, the images must be tone-mapped and transformed into the target color space.

This image conversion can be performed by applying a three-dimensional look-up table (3D LUT) to the LogC3 or LogC4 material. For dailies this is usually a conversion to Rec 709 done via a dailies software like Assimilate Scratch, Colorfronts Onset Dailies, or Pomfort Silverstack Lab.

Embedded Look
Each clip captured by ALEXA SXT, ALEXA 65, ALEXA Mini, AMIRA, ALEXA LF, and ALEXA Mini LF is recorded with an ARRI Look File 2 (ALF2). ALEXA 35 or ALEXA 265 use the ARRI Look File 4 (ALF4). The look file is stored and embedded as metadata in the file header. Some tools support our ARRI Look Files natively, so you can easily apply the look on the spot and see how it was intended to look on set. For an overview of the differences between our ARRI Look File 2 (ALF2) and ARRI Look File 4 (ALF4), please visit our Look Files section.

Also a good read on dailies is Netflix's Dailies: Best Practices.

Look Up Tables

Production and postproduction generally communictate color through Look Up Tabels (LUTs). While LUTs used on set mainly focus on creative images manipulation to transport the mood of the movie – LUTs in post production can also be of purely technical nature to transform an image to match a display's or projector's color space.

ARRI offers (technical) LogC3 conversion LUTs through the online ARRI LUT Generator, which can create over a dozen different LUT formats for different applications.

For LogC4 (used in ALEXA 265 and ALEXA 35) we have made pre-built 3D-LUT packages.