ARRI Camera Toolkit for MacOSX & Demo Features

ARRIRAW and Alexa LogC ProRes Made Easy
The ARRI Camera Toolkit allows you to easily work with your ARRIRAW and Alexa footage.

For Final Cut Pro and Motion users, our ARRI Alexa LogC filter allows you to instantly view your LogC footage in the Rec709 or P3 Colorspaces. No Rendering Required. Included with our toolkit is the ability to batch import a bunch of LogC movies. As each movie is imported, the ARRI Alexa LogC filter is attached and correctly set. Hours of tedious work is eliminated with the click of a button.

With the ARRIRAW QuickTime component, finder is fully aware of ARRIRAW files and includes support for Spotlight, Previews, and basic QuickTime Playback. Other applications that are QuickTime aware, will also work with ARRIRAW file format.

Demo Features

• Supports Alexa and D-21 cameras.
• Reads ARRIRAW ".ari" files with a Water Mark (A Red Bar through the image.)
• Can apply ARRI Camera Filter to ARRIRAW or LogC ProRes with Blue Bar.
• Final Cut Pro import panels for ARRIRAW and LogC ProRes limited to importing a single clip.
• Final Cut Pro import panel is limited to importing a single ARRIRAW Clip.
• ARRIRAW Time Code is Fixed to 24 fps in the demo version.
• ARRIRAW Time Code time is Fixed to 09:09:09:00
• Supports QuickTime 7.6.6 under MacOSX 10.5.8 Leopard and MacOSX 10.6.8 Snow Leopard

Flexible Licensing Options
Do you just need the LogC Filter? For those that wish to only use the ARRI Alexa LogC filter, you can now purchase a license for just that part of the ARRI Camera Toolkit at a lower price. Otherwise, the full license is still available for both the ARRI Alexa LogC filter, as well as the full ARRIRAW QuickTime component. Users that have purchased only the LogC license have the option of paying for an upgrade to the full package at any time.

ARRI Alexa LogC Filter
Included with the ARRI Camera Toolkit is an instant color correction Final Cut Pro filter for LogC ProRes movies. You can batch import a bunch of LogC ProRes movies using our custom Final Cut Pro importer plugin and have our ARRI Alexa LogC Camera filters automatically added to the footage. This saves the editor a great deal of time, when working with lots of footage. This filter uses ARRI's own color science for accurate reproduction of colors. The filter is ideal for instant previews or renders within Final Cut Pro or Motion.

ARRIRAW QuickTime Component
ARRIRAW is fully supported through QuickTime, which will preform all of the importing, playback, debayer, Exposure, ASA and color correction functions to the movie. All applications that use QuickTime can access all aspects of the ARRIRAW files. Applications including Final Cut Pro, Compressor and even iMovie, can import and play these files without any sort of conversion or preprocessing steps. For the ease of portability with other users, you can quickly and easily convert an ARRIRAW image sequence to any other QuickTime movie format.

Adjustable Imagery
Included with the ARRI Camera Toolkit, is the "ARRI Alexa LogC Camera" filter for Final Cut Pro. This filter is designed to work with Alexa LogC ProRes movies. With this filter attached to your footage in Final Cut Pro, you can dynamically adjust the color processing of your footage. No Rendering is necessary in most cases. LogC footage can immediately be previewed in Rec 709 or DCI P3 Colorspaces, without any rendering. The White Point and Exposure Indices can also be changed, to creatively adjust the imagery as needed. Should you require a rendered movie, the ARRI Alexa LogC Camera Filter can generate 32-bit float imagery, perfectly preserving the image integrity. The filter is 100% compatible with Alexa firmware versions 3.x and 4.0



Full Integration into Final Cut Pro
Along with the new ARRI Alexa LogC Camera plugin for Final Cut Pro, is a new Import plugin specifically built to batch import Alexa LogC ProRes movies. This import plugin not only imports the movies, but also attaches a unique copy of the ARRI Alexa LogC Camera, preset to your specific settings. With this tool alone, the editor can save hours of tedious work, attaching LUTs to each and every movie. The editor can start the business of editing rather than color correcting.

Also included is an Import Plugin specifically for ARRIRAW sequences. This plugin not only imports the ARRIRAW image sequence, but brings the metadata from the ARRIRAW files right into the Final Cut Pro Project file. The import plugin can even generate an ARRIRAW color FxPlug for each and every clip imported automatically (with the clips settings properly set).

ARRIRAW Time Code
Time code is loaded right into any QuickTime application that supports time code tracks. Reel names (time code track labels) can also be added for applications such as Final Cut Pro. During export from Compressor 3, time code from the ARRIRAW image sequences can be baked into your destination media.

ARRIRAW Metadata
Many hardware and software vendors offer the ability to embed Metadata information directly into the ARRIRAW frames. A feature of these components is to retrieve these bits of information and make them available to your tools or applications. Final Cut Studio support is provided by the ARRI Camera Toolkit. With this package, Final Cut Studio will be able to embed the Metadata from the ARRIRAW footage, and preserve it inside your project files.

ARRIRAW Spotlight Plugins
The Spotlight Plugins enable your system to see inside the ARRIRAW image header. The Finder can extract specific information from ARRIRAW files when it does a "Get Info." You can search for time code, frame rates, encoding information or even "shot notes" from the "project" field. Simple shell scripts can also take advantage of the spotlight services and sift through frames for specific data.

ARRIRAW Anamorphic
Need to change the aspect ratio of your footage? The ARRI Camera Toolkit has
the ability to unsqueeze your imagery using a number of popular aspect ratios, without modifying the original. Preset Ratios include 1.78, 2.0, 2.35 or you can choose your own aspect ratio by entering a custom value.

With Glue Tool’s Cineon/DPX Components
ARRI Camera Toolkit in conjunction with Glue Tools' Cineon/DPX Pro For FCS package allows users to export ARRIRAW footage to high quality dpx frames. The combination provides universal access of ARRIRAW footage to many industry-wide visual effects, editorial and color correction packages.

With the Cineon/DPX Pro for FCS package, the process of embedding time code, adding slate notes, adjusting the frame rate and exporting DPX files is significantly easier. It's the ideal way for footage to be color corrected and then printed to film or used for broadcast.

Important Notes about ARRIRAW File Format
The ARRIRAW Toolkit will only open files with a “.ari” extension. Files that are generated by S.Two equipment will need a conversion step. These frames are often saved with a “.dpx” extension. These frames will show up as black frames in the DPX package. If you encounter these frames, try using a conversion tool to convert the S.Two "ARRIRAW" DPX files, to a set of ".ari" files.

Exporting a New Movie from QuickTime Player
For the ease of portability with other users, you can quickly and easily convert an ARRIRAW image sequence to any other QuickTime Movie format. You can do this by opening a ARRIRAW sequence using QuickTime Player, and then selecting the "File->Export...". Select your codec, location and filename as you would with any other movie, and start the export. It is that easy.

Importing an ARRIRAW Sequence into Final Cut Pro
Final Cut Pro will treat ARRIRAW image sequences exactly the same way it treats other QuickTime Movies. To import an ".ari" sequence, select the "File->Import->Glue Tools ARRIRAW Import..." menu item, and locate and click on your movie. Your movie will now appear in the browser. If a Time Code track is enabled, it will be attached to the movie as well.

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