Format
Reso-
lution
Color
Coding
File
size
(single
frame)
Data
Rate
@ 24 fps
Recording
time on XR
Capture
Drive @ 24
fps
4:3 ARRIRAW
2.8K
2880 x
2160
12 bit
Bayer
9.3 MB
1.79
Gbit/s
35 min
16:9 ARRIRAW
2.8K
2880 x
1620
12 bit
Bayer
7 MB
1.34
Gbit/s
47 min
For a detailed table of available frame rates and possible codec/card
combinations, please refer to the Chapter FPS on page 70.
Choosing a Recording Format
The selection of the recording format is a crucial decision which needs
to be discussed with the production company and post production.
While lower bit rate codecs offer longer recording times, they introduce
compression artifacts that greatly limit the creative choices.
ProRes
422 (Proxy)
Use for video assist and proxy editing while the
master is captured with an external device. Not
suitable as camera master.
ProRes
422 (LT)
Use for video assist and proxy editing while the
master is captured with an external device.
Possibly suitable for internet video production.
ProRes
422
Use for basic television production. Limited
options in color correction.
ProRes
422 (HQ)
Use for high quality TV production. Suitable for
creative color correction.
ProRes
4444
Use for high quality TV and cinema production.
Very suitable for creative color correction and
visual effects work such as pulling mattes.
DNxHD
115/120/145
Use for basic television production. Very limited
options in color correction due to 8 bit color
depth.
DNxHD
175x/185x/220x
Use for high quality TV production. Suitable for
creative color correction.
DNxHD 444 Use for high quality TV and cinema production.
Very suitable for creative color correction and
visual effects work such as pulling mattes.
2.8K ARRIRAW Use for cinema production, visual effects and high
quality TV. Best format for creative color
correction and visual effects work. Unencrypted
and uncompressed format. Raw data needs to be
processed into color images.
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