ARRI Look Library

Overview

ARRI Look Library is a free collection of 87 looks for compatible ALEXA cameras and postproduction. It is best suited to cinematographers and grading teams working in ARRI’s LogC ecosystem who want a common visual starting point across set and finishing. Its appeal is breadth across camera and post workflows; the important qualification is matching the library’s LogC generation to the camera.

The looks are divided among nine themes, including Film, Black-and-White, Environment and Tinted. That gives teams a structured way to explore visual directions, though the result remains influenced by lens choice rather than functioning as a guaranteed finished image.

Key features

ARRI provides separate LogC3 and LogC4 libraries. LogC3 covers ALEXA Mini, AMIRA, ALEXA SXT, ALEXA 65, ALEXA LF and ALEXA Mini LF; LogC4 covers ALEXA 265 and ALEXA 35/35 Xtreme. Choosing the correct generation is essential for a compatible workflow, and means the library is not a general-purpose look collection for unrelated cameras.

The 87 looks are available as log-to-log .cube 3D LUTs for postproduction and ARRI Look Files for in-camera use. ARRI also identifies .aml and .alf4 among the LUT file formats, with DaVinci Resolve Studio as host software and log-footage support. Look metadata can be accessed in ARRI Reference Tool, ARRI Meta Extract or most DI grading software, then extracted and exported as a 3D LUT. This supports a path from camera look metadata into grading, rather than limiting the library to an in-camera setting.

The FAQ describes three intensities for the looks, but the three-intensity option is only available in LogC3. That is useful flexibility for LogC3 users; LogC4 users should not plan on that same choice. ARRI says the library is preinstalled on ALEXA 35/35 Xtreme, ALEXA 265, ALEXA Mini and AMIRA. On ALEXA Mini and AMIRA, a look must be duplicated before its CDL values can be adjusted. Other cameras do not offer look manipulation through the camera menu, so teams needing on-camera tuning should account for that constraint.

ARRI points users to an iOS app for an overview of the included looks. Product information, service requests and quote requests can be directed through ARRI’s contact form.

Pricing

ARRI Look Library — 0.00 USD per free. The free plan includes 87 looks and free log-to-log versions; camera compatibility depends on whether you use LogC3 or LogC4. ARRI also makes the log-to-log downloads available free of charge. There is no free trial because the library is free, and no paid tier is needed to access the stated collection.

This is a straightforward fit for teams already using supported ALEXA cameras and compatible grading workflows. The tradeoff is not a paid-plan cap but camera-specific compatibility and adjustment limits: confirm the applicable LogC version, and consider whether postproduction rather than camera-menu manipulation is where you will control the look.

Platforms

The library is associated with iOS and web platforms. Camera support spans ALEXA Mini, AMIRA, ALEXA SXT, ALEXA 65, ALEXA LF, ALEXA Mini LF, ALEXA 265, ALEXA 35 and ALEXA 35 Xtreme. The iOS app is an overview of the looks; the core production use is through compatible cameras and postproduction LUT workflows.

Who it's for

Choose ARRI Look Library if your production already uses a supported ALEXA model and you want a free, repeatable set of looks that can inform both on-set decisions and grading. It is particularly practical where a team values a defined palette and metadata-to-LUT post workflow. Look elsewhere if you need broad camera-brand coverage, or if extensive look manipulation through the camera menu is central to your process.

Pros and cons

• Pros: Free access to 87 looks, with log-to-log LUT downloads and in-camera Look Files, gives compatible productions a shared starting point without a purchase.
• Pros: Nine themed groups and, for LogC3 only, three intensities offer useful ways to choose and vary a look.
• Pros: Metadata can be carried into a postproduction LUT workflow through ARRI tools or most DI grading software.
• Cons: LogC3 and LogC4 apply to different camera groups, so the collection requires a camera-specific choice rather than one universal version.
• Cons: Three intensities are limited to LogC3, and camera-menu look manipulation is constrained; ALEXA Mini and AMIRA require duplication before CDL adjustment.

Alternatives

Video LUT Libraries is the broader category to browse if your choice is not limited to ARRI’s camera-specific ecosystem.

Canon LUT Library is a sensible free alternative when your workflow centers on Canon: it offers downloadable .cube Look Files for compatible grading software or supported cameras.

LUTify.me is worth considering for a broader platform mix and optional paid packs; its Cine world Pro Warm and Cold LUT packs each cost 15.00 USD per one-time purchase, with the Warm pack identified as an add-on to fylm.ai Lite.

CineColor LUT Library suits buyers who want full-catalog access and unlimited downloads on a monthly subscription: its All Access plan is 29.00 USD per month and auto-renews, with the option to skip or cancel anytime.

IWLTBAP LUTs is an alternative for buyers seeking a one-time pack; its LUTs Color Grading Pack costs 25.00 USD and includes 325+ LUTs in a downloadable ZIP.

Luttie LUT Packs offers individual LUT purchases, including a 3.50 USD one-time option, for buyers who prefer purchasing single looks.

CinePacks is a larger asset-bundle alternative rather than a focused free camera library: its Master Bundle costs 300.00 USD once and includes 57 packs and 4,700+ assets.

LUT Co is a paid alternative with one-time creative LUT packs, including the Samuel Elkins LUT Pack at 49.00 USD.

Bounce Color LUTs is another alternative for buyers seeking one-time LUT packs.

Verdict

ARRI Look Library is the right choice for cinematographers and post teams working with compatible ALEXA cameras who want a free, shared set of looks spanning in-camera and grading workflows. Its main reason to choose it is that combination of zero-cost access, 87 themed looks and postproduction handoff; its main reason to look elsewhere is the narrow camera ecosystem and limited in-camera adjustment on several models.