ARRI LogC Color Workflow in DaVinci Resolve

ARRI cameras are a staple of feature films, series, and high-end commercials, and their footage is known for smooth highlights, forgiving latitude, and natural skin tones. To get the most out of it, you need a clear ARRI LogC color workflow in DaVinci Resolve. A predictable pipeline means the grade looks the same on every shot and translates correctly from the suite to the final deliverable.

What Is ARRI LogC?

LogC is the logarithmic encoding ARRI uses to store the wide dynamic range its sensors capture. Straight out of the camera, LogC looks flat and low in saturation. That is by design. The flat image holds highlight and shadow detail that a standard Rec.709 image would clip, and the colorist's job is to map that information into a finished look. Most ARRI footage is recorded in LogC3 with ARRI Wide Gamut 3, while newer cameras can use LogC4 with ARRI Wide Gamut 4. Always confirm which version your camera recorded, because applying the wrong transform will shift contrast and color.

Set Up the Project Color Management

In Resolve, you can use DaVinci YRGB Color Managed or the ACES and DaVinci Wide Gamut approach. A common setup is to set the input color space of the clips to ARRI LogC and ARRI Wide Gamut, choose a wide working space, and set the timeline output to Rec.709 Gamma 2.4 for standard delivery or to the appropriate HDR target. Doing the conversion at the project level keeps the node tree clean and avoids stacking several LUTs on top of one another.

Grade in a Wide Working Space

Working in a wide gamut and log container gives you room to push contrast, balance exposure, and shape color without breaking the image. Start with exposure and white balance using the printer-style controls or log wheels. Then set contrast and pivot, refine skin tones, and finish with the look. Our guide on log footage versus Rec.709 grading covers why this order matters.

Add the Look After the Foundation

Once the footage is balanced, add the creative look. Some colorists apply a print-style film emulation near the end of the chain, similar to the approach described in our article on the Kodak 2383 film look. Keep the look separate from the technical conversion so you can adjust or remove it without disturbing the base image.

Protect Skin Tones and Highlights

ARRI footage handles skin well, but contrast and saturation changes can still push faces toward orange or magenta. Check the vectorscope skin tone line and keep highlight rolloff gentle. For more on this, see the discipline of skin tone.

Deliver With Confidence

Before delivery, review the grade on a calibrated reference display and verify the output color space matches the spec for your platform. Our guide to color space delivery walks through the common targets.

Work With a Los Angeles Color Studio

If you are shooting on ARRI and want a clean, consistent finish for a feature, series, or commercial, contact our Los Angeles color studio to plan the workflow before you shoot.

*Coloring Book is a Los Angeles–based color finishing studio founded by cinematographer and colorist Alexander Lakin. Learn more at wearecoloringbook.com.*