ARRI Film Lab Announced – Real-Time Analog Film Emulation Plugin for DaVinci Resolve, Baselight, Nuke

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by Nino LeitnerNovember 18^th, 2025

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ARRI has introduced Film Lab, a license-based OpenFX plugin that brings authentic analog film aesthetics to digital workflows. This postproduction tool offers real-time 4K processing with adjustable grain, color, halation, and gate weave controls, working with RGB images from any camera in ARRI pipelines. Available now via RE:Vision Effects with pricing starting at $25 monthly, Film Lab supports LogC3/LogC4 workflows and integrates with leading color grading platforms including DaVinci Resolve, Baselight, and Nuke.

ARRI has entered the film emulation plugin space with a tool that distills decades of photochemical expertise into a real-time postproduction environment. Drawing on the company’s legacy with ARRILASER, ARRISCAN, and REVEAL Color Science, ARRI Film Lab provides colorists and finishing artists with granular control over the characteristics that define analog film’s distinctive look.

The plugin architecture respects existing color workflows rather than replacing them. Whatever LUTs or grades have been developed during prep or post, Film Lab layers its analog characteristics on top while maintaining consistency across mixed-camera projects. This approach positions it as a finishing tool rather than a primary color correction system.

Film grain emulation with three stock profiles

Film Lab’s grain engine models the structure of three classic negative stocks: 50D, 200T, and 500T. Each profile replicates the specific grain characteristics associated with these speeds, from the fine structure of daylight-balanced 50D through the more pronounced texture of tungsten-balanced 500T. The intensity parameter allows continuous adjustment, giving colorists precise control over how much grain character appears in the final image.

The grain simulation operates in real-time at 4K resolution, processing footage without render delays during color sessions. According to ARRI, the grain structure responds authentically to image content, with finer grain in highlights and more prominent structure in shadows, matching the behavior of actual film emulsion.

Color processing and print stock emulation

Beyond grain, Film Lab’s color engine encompasses multiple photochemical processes. Print stock characteristics model the color response of traditional film prints, while reversal film settings replicate the saturation and contrast curves associated with slide film. The bleach bypass option recreates the desaturated, high-contrast look achieved by skipping the bleaching step during film processing.

Each color setting includes intensity controls, allowing colorists to dial in subtle hints of film color response or push toward more pronounced analog aesthetics. The color processing works across the entire tonal range, affecting how highlights roll off, how midtones separate, and how shadows hold detail.

Halation and gate weave for mechanical authenticity

Halation control simulates the red/orange glow that appears around bright sources when light scatters through film’s multiple emulsion layers. This subtle optical artifact contributes significantly to film’s organic highlight rendering, softening the transition between extreme brightness and surrounding tones. The adjustable halation parameter lets colorists match the intensity to their creative intent.

Gate weave introduces the fractional vertical instability characteristic of film projection and telecine transfers. This mechanical imperfection, caused by slight variations in film transport through camera gates and projectors, adds another layer of analog authenticity. The effect remains subtle, replicating the gentle movement visible in vintage film presentations without becoming distracting.

What about workflow compatibility?

Film Lab operates as an OpenFX plugin, making it compatible with DaVinci Resolve, Baselight, Nuke, Autograph, Flame, Fusion Studio, Natron, Scratch, and Silhouette. The plugin requires ARRI color management through to finishing, supporting LogC3 (AWG3) and LogC4 (AWG4) workflows. While designed for ARRI’s own image processing pipelines, Film Lab accepts RGB images from any camera manufacturer once converted to ARRI’s color space.

The plugin works with footage originating from ARRICORE, ARRIRAW, ProRes, or third-party codecs. Real-time 4K processing means no pre-rendering is required during color sessions. ARRI confirms that ACES 2.0 support is already in development, ensuring the plugin remains relevant as post workflows evolve.

On-set preview for ALEXA 35 cameras

A forthcoming firmware update scheduled for Q1 2026 will enable non-destructive Film Lab previews on ALEXA 35 and ALEXA 35 Xtreme cameras. The system combines ARRI Textures with 3D LUTs to approximate the desired film look in camera viewfinders and monitor outputs during production. This allows directors and cinematographers to make creative decisions based on a close representation of the final film aesthetic, though the actual Film Lab processing still occurs in post.

The preview function works when recording ARRICORE or ARRIRAW formats, providing real-time feedback without baking effects into the captured footage. This bridges the gap between digital acquisition and film finishing, giving production teams confidence that the intended look is achievable in post.

ARRI Look Library integration

Film Lab ships with a plugin version of ARRI’s established Look Library, providing access to 87 pre-defined looks developed by the company for various production scenarios. Each look comes in three intensity levels, offering colorists starting points that can be combined with Film Lab’s analog characteristics. The Look Library integration gives users both predefined aesthetics and granular film emulation controls within a single plugin environment.

The combination allows for layered approaches to image finishing. Colorists can apply a Look Library preset as a foundation, then add specific grain profiles, halation intensity, and gate weave to fine-tune the analog character. This flexibility serves productions ranging from high-end features to corporate work, all within the same toolset.

Industry perspective and real-world application

Stijn Van der Veken ASC, SBC notes that Film Lab represents “the first time I’ve seen a film look plugin that really helps create a vintage look on a period drama.” His assessment highlights the plugin’s ability to deliver authentic period aesthetics rather than generic film filters.

Colorist Luisa Cavanagh from Quanta Post emphasizes the technical accuracy: “ARRI Film Lab makes digital feel like real film. It’s incredibly easy to use, yet feels like it carries a full color science lab inside. The color response is stunningly accurate, skin tones feel alive, shadows stay rich, and the definition is superb, providing that crisp, organic detail you get from true film.”

These testimonials suggest Film Lab’s primary strength lies in its photometric accuracy rather than stylized effects. The plugin appears designed for colorists who need authentic film characteristics rather than approximations.

Pricing and availability

ARRI Film Lab is available now via RE:Vision Effects with multiple licensing options. Individual users can purchase monthly licenses at $25, annual licenses at $250, or permanent licenses at $500. Floating licenses add approximately 20 percent to these base prices. Company licensing is structured by number of users, with volume pricing available through direct contact with RE:Vision Effects.

Educational institutions qualify for discounted rates, though specific educational pricing has not been publicly disclosed. A seven-day free trial allows colorists to evaluate Film Lab’s capabilities before committing to a license. The plugin can be downloaded directly from RE:Vision Effects’ website, with full documentation and sample footage available through ARRI’s official Film Lab page.

Does Film Lab’s approach to analog emulation address the gap between digital acquisition and film aesthetics in your workflow? How do you currently handle film grain and color characteristics in post? What specific film stocks would you want to see added beyond 50D, 200T, and 500T? Don’t hesitate to let us know in the comments below!