Noise Reduction - ARRI ALEXA Mini LF User Manual

Look Settings
Configuration of SDI Color Space
► Select MENU > Image > Look Configuration > SDI 1 Color Space to set the color space for the SDI
1 output.
► Select MENU > Image > Look Configuration > SDI 1 Color Space to set the color space for the SDI
2 output.
Following options are available:
REC 709
REC 2020
15.2

Noise Reduction

ARRI Noise Reduction ANR-1
ARRI Noise Reduction ANR-1 is implemented in most modern ARRI camera models and can be
used for monitoring purposes on set, recording to MXF/Apple ProRes files (baked in) or as metadata
of MXF/ARRIRAW recordings with full flexibility to change the parameter in postproduction. ARRI
Noise Reduction ANR-1 can be helpful in low light situations to reduce noise in the images. While it is
commonly available in postproduction tools, two reasons drove us towards creating a new, in-camera
ARRI noise reduction: we enable fast, in-camera noise reduction and we provide a noise reduction
method that retains the grain texture and natural looks that ARRI customers like.
Using ARRI Noise Reduction ANR-1 enables you to use noise reduction on set in the camera. This can
be helpful for low light shots, where an in-camera noise reduction is a very fast solution. Furthermore,
ARRI Noise Reduction ANR-1 gives you the possibility to combine the amount of grain with your
sharpness and detail settings for the chosen exposure directly on set.
You can store your decision either in the metadata, when recording MXF/ARRIRAW or bake it into
Apple ProRes files. In contrast to general postproduction tools, the ARRI Noise Reduction ANR-1
is optimized for the sensor noise characteristics and therefore can achieve a very natural noise
reduction without any image blurring. This noise reduction, optimized for the ARRI sensors is available
for ARRIRAW recordings by using the ARRIRAW Converter or a post-processing software that
incorporates the ARRIRAW SDK. The film grain like texture of ARRI cameras is highly appreciated by
cinematographers around the world and therefore ARRI Noise Reduction ANR-1 is moderate and does
not affect the grainy structure of the noise. The ARRI Noise Reduction ANR-1 just reduces it, nothing
more.
For more information please refer to the ARRI Texture Control White Paper, available in the
Downloads
► Select MENU > System > Sensor > Noise Reduction to toggle noise reduction on/off.
Material recorded in Rec 709 (short for ITU Recommendation BT.709) has a display specific en-
coding. The purpose of a display specific encoding is to immediately provide a visually correct
representation of the camera material, when it is screened on a certain display device. This is
achieved by mapping the actual contrast range of the scene into the contrast range that a display
device can reproduce. Examples of display specific encodings are Rec 709 for HDTV screens or
DCI P3 for Digital Cinema Projectors. On the downside, a display specific encoding puts some
limits on the options for a colorist.
Rec 2020 is a wider color space than Rec 709, which is the current industry standard for HD. Rec
2020 promises more brilliant images, though only new display technology is able to show these.
Traditional Rec 709 displays (like TVs or ordinary computer displays) can not display Rec 2020.
While Rec 709 is the encoding color space for HDTV, Rec 2020 is the encoding color space for
UHD. The primary colors lie on the spectral locus and it is thus possible to have more saturated
colors in images. It does not mean, however, that all colors look more saturated. When proper-
ly converted, Rec 709 images will look exactly the same when displayed on a Rec 2020 display.
Rec 2020 is an encoding standard. A TV or display may not support the full gamut. Nevertheless,
it will correctly display the colors within its physical gamut. To get the "Premium" logo of the UHD
Alliance, for example, a TV needs to support a minimum of 90% of the P3 gamut.
section on the ARRI website.
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Technical