LUT utilities such as Lattice serve as 'swiss army knives' for getting your existing production-quality LUT into a format that can be loaded into the ALEXA Mini. Lastly, many people have large libraries of existing 3D LUTs they've found around the web, made themselves, or purchased. This is especially useful in situations where the camera is mounted in a position that makes doing live color impractical. Pomfort LiveGrade can be used to color the camera's LogC signal in real-time, and the resulting grades can then also be loaded directly into the camera. When used in conjunction with the ARRI Color Tool, a free download from the ARRI website, programs like DaVinci Resolve can be used to create unique looks and load them into the camera quickly. One of the best features the ALEXA Mini 'inherited' from its doc-style bigger brother, the AMIRA, is ARRI's next generation look management controls which allow for CDL-style grading directly in the camera or - and this is the topic we'll be focusing on today - the ability to load look files converted from 1D and 3D LUTs directly into the camera to be applied to a variety of viewing options and outputs.

It's equally at home in the studio as an 'A' or 'B' camera on commercials, music videos or narrative projects.

Its symmetrical, cube-like design is well suited for handheld scenarios, such as with a Ronin or MōVI gimbal, on the shoulder, or mounted on a drone for soaring aerial shots. The ALEXA Mini from ARRI is a versatile and flexible camera body with a compact form factor and outstanding image quality.Ĭombining some of the best features of ARRI's other cameras, such as the ALEXA series and the AMIRA, as well as some of the image quality improvements ARRI made when developing the large format ALEXA 65, the ALEXA Mini is a compelling option for DPs and shooters who want to realize their creative vision in a wide range of situations.

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