ARRIRAW Data Calculator
Estimate ARRIRAW recording data rates, per-minute storage, total shoot volume, and backup needs using a practical production workflow model. This calculator helps camera teams, DITs, post supervisors, and producers plan media, on-set transfer time, and archive capacity before the first slate.
Choose a resolution, frame rate, bit depth, duration, and copy count to estimate throughput and storage requirements.
Expert Guide to Using an ARRIRAW Data Calculator
ARRIRAW is designed for productions that want the greatest possible image flexibility from ARRI camera systems. In practical terms, it preserves sensor-level image information for high-end finishing, visual effects, HDR mastering, and color-managed workflows where every extra stop of latitude matters. The tradeoff is simple: image fidelity goes up, and storage demand rises with it. That is why an ARRIRAW data calculator is not a minor convenience. It is a planning tool that shapes media rental, DIT station design, offload speed, checksum strategy, backup policy, shipping decisions, and post-production budgeting.
The calculator above uses a production-friendly model based on resolution, frame rate, bit depth, clip duration, and overhead. While exact file behavior can vary by camera family, firmware, framing mode, and pipeline implementation, the core physics do not change: more pixels and more frames every second create more data. A reliable estimate helps you answer the questions that matter on set: How many capture drives are needed for the day? How long will offloads take? Is a single shuttle enough for editorial plus LTO staging, or do you need mirrored field backups before wrap?
What an ARRIRAW data calculator actually measures
An ARRIRAW calculator estimates the amount of digital information generated when the camera records raw image data over time. The most useful outputs are:
- Data rate: how much information is created every second, usually shown in MB/s or GB/s.
- Storage per minute: critical for quick onset media math.
- Total storage for a shoot: used for daily media planning and post handoff.
- Total storage with backups: useful when following a dual-copy or triple-copy data protection policy.
A typical estimate follows a simple logic path. First, the calculator multiplies width by height to determine the number of pixels per frame. Then it multiplies that by bit depth to estimate how much data each frame carries. Finally, it multiplies by frame rate to determine the amount created each second. A small overhead factor can be added to cover packaging, metadata, and real-world file handling. This is exactly the kind of estimate a DIT or post supervisor needs because it is transparent, repeatable, and easy to adapt.
Why ARRIRAW planning matters before production starts
High-end shoots rarely fail because the camera image is not good enough. They fail because the workflow around the image was underplanned. Raw acquisition has a storage footprint that impacts every department downstream. Camera assistants need enough approved media to avoid bottlenecks. DITs need transfer systems fast enough to clear cards before they refill. Producers need realistic numbers for shuttle drives, archive, and labor. Editorial and color teams need confidence that the source files arriving from set match the expected volume and can be verified cleanly.
On a one-day commercial, poor planning might mean crew waiting for media to cycle back. On a multi-day narrative or documentary schedule, it can cascade into expensive overnight bottlenecks and rushed copy verification. The best practice is to estimate with margin, not with wishful thinking. If your calculator suggests 5.5 TB for original camera data, a professional workflow may reserve significantly more than that once mirrored backups, transfer headroom, and work volume growth are considered.
Core factors that drive ARRIRAW storage usage
- Resolution: More photosites per frame produce more data. Open gate and large format modes can increase storage significantly.
- Frame rate: 48 fps, 60 fps, and higher speed modes create more frames each second, increasing throughput almost linearly.
- Bit depth: More bits per pixel increase file size. Raw workflows commonly emphasize high bit depth to protect grading latitude.
- Shooting ratio: A 10:1 ratio means ten minutes recorded for every final minute used. This affects total daily storage far more than many first-time planners expect.
- Backup policy: A two-copy workflow doubles your storage demand. A three-copy strategy triples it.
- Overhead and file management: Real-world workflows include metadata, directory structure, verification logs, and media reserve capacity.
Reference statistics for common ARRIRAW-style estimates
The table below shows illustrative data rates using a straightforward formula: resolution x bit depth x frame rate, converted to megabytes per second with no additional overhead. These are useful baseline statistics for planning discussions and comparing acquisition modes.
| Mode | Resolution | Bit Depth | Frame Rate | Approx. Data Rate | Approx. Storage Per Minute |
|---|---|---|---|---|---|
| 2.8K | 2880 x 1620 | 12-bit | 24 fps | 167.96 MB/s | 9.84 GB/min |
| 3.4K Open Gate | 3424 x 2202 | 12-bit | 24 fps | 271.61 MB/s | 15.91 GB/min |
| 4.6K | 4608 x 2592 | 12-bit | 24 fps | 430.03 MB/s | 25.20 GB/min |
| 4.6K Open Gate | 4608 x 3164 | 12-bit | 24 fps | 524.57 MB/s | 30.74 GB/min |
| 6.5K Large Format | 6560 x 3100 | 12-bit | 24 fps | 732.22 MB/s | 42.90 GB/min |
These numbers make one planning truth obvious. Once you move into open gate or large format raw capture, media volume escalates fast. If you then increase frame rate to 48 fps, a storage plan that looked comfortable can become inadequate with little warning.
Storage projections for production planning
Translating data rate into real production decisions is where a calculator becomes valuable. Producers and DITs often think in terms of one hour, one day, or one shooting block. The next table uses the same baseline examples to show how raw data scales over an hour of continuous recording. Real projects will record less than an uninterrupted hour, but the comparison is a useful benchmark.
| Mode | Approx. Storage Per Hour | 2 Copies Needed | 3 Copies Needed | Typical Planning Note |
|---|---|---|---|---|
| 2.8K 24 fps 12-bit | 590.63 GB | 1.15 TB | 1.73 TB | Manageable for smaller jobs, but backup strategy still matters. |
| 3.4K Open Gate 24 fps 12-bit | 954.89 GB | 1.86 TB | 2.80 TB | Offload speed and checksum verification become more important. |
| 4.6K 24 fps 12-bit | 1.48 TB | 2.95 TB | 4.43 TB | Often requires careful media cycling and clear drive naming. |
| 4.6K Open Gate 24 fps 12-bit | 1.80 TB | 3.60 TB | 5.40 TB | Strong candidate for larger capture media and disciplined wrangling. |
| 6.5K Large Format 24 fps 12-bit | 2.51 TB | 5.03 TB | 7.54 TB | Fast storage arrays and a formal archive plan are strongly advised. |
How to estimate a real day of shooting
The biggest mistake in data forecasting is assuming that schedule length equals recorded duration. A 10-hour day does not mean 10 hours of footage. Instead, you estimate actual recorded minutes using your shooting ratio, setup style, and production type. For example, a tightly controlled tabletop commercial may record relatively little, while unscripted or documentary coverage can generate much more raw volume.
Here is a practical planning sequence:
- Choose the camera mode and frame rate you expect to use most often.
- Estimate total recorded minutes for the day, not just call time.
- Add overhead for metadata and real-world file handling.
- Multiply by your backup policy, usually 2 or 3 total copies.
- Add reserve capacity so no drive is filled to the edge.
For instance, if a show expects 90 minutes of 4.6K ARRIRAW-style capture at 24 fps with 3% overhead, the original camera data estimate lands near 2.28 TB. With two total copies, the workflow should plan for about 4.56 TB. With three total copies, that rises to roughly 6.84 TB. Those are not abstract numbers. They affect whether your team can safely complete offloads before wrap, whether shuttle drives need to leave set nightly, and whether post has enough landing space when material arrives.
Why overhead and reserve capacity should never be ignored
Many calculators fail because they stop at theoretical image payload. In reality, workflows include hidden but predictable costs: media file structure, reports, verification logs, sidecar data, room for file-system efficiency, and the operational wisdom of avoiding 100% full volumes. A modest 3% to 10% overhead factor is common in planning. Even if the exact percentage fluctuates, adding this margin creates safer and more realistic budgets.
Similarly, reserve capacity matters. If your calculation says 3.9 TB, do not show up with a single nominal 4 TB device and assume success. Real professionals leave space for performance, file system health, duplicate paperwork, and last-minute overages. Data safety is cheapest before a problem occurs.
ARRIRAW versus lighter recording options
Not every project needs raw image capture for every setup. Some productions mix ARRIRAW for hero material with more storage-efficient recording for inserts, secondary units, or long-form coverage. The point of a calculator is not to push every show toward maximum data. It is to support informed decisions. If the creative and post requirements justify ARRIRAW, you can budget properly. If they do not, the same planning discipline helps compare alternatives and understand the opportunity cost.
- Use ARRIRAW when finishing latitude, VFX integration, or archival image quality are top priorities.
- Use data estimates to decide whether all cameras or only select cameras should shoot raw.
- Plan backups as part of acquisition, not as an afterthought once cards start arriving.
Best practices for DITs, camera teams, and producers
A strong ARRIRAW workflow is built on repeatable habits. Calculate expected daily volume in advance. Label media and destination drives clearly. Use checksum-verified copies. Maintain at least two copies before media is cleared, and preferably three when schedule and budget allow. Keep written logs that match folder structure, card IDs, and transfer verification status. Confirm with post what naming conventions, drive formatting, and delivery cadence they expect. These practices save more time than they cost.
It is also wise to align your storage plan with accepted technical references for digital preservation and data measurement. The Library of Congress provides valuable context on file formats and preservation considerations, while NIST helps standardize understanding of digital units and prefixes. For additional preservation workflow context, Cornell University Library also offers useful educational material.
Final takeaway
An ARRIRAW data calculator is a decision-making tool, not just a convenience widget. It helps you translate creative capture choices into practical operational numbers. When used correctly, it reveals how resolution, frame rate, bit depth, duration, and backup policy affect the entire production chain. The result is better media planning, fewer onset delays, stronger data protection, and more predictable post costs.
If you are preparing for a commercial, feature, branded piece, music video, or documentary shoot, treat your storage estimate with the same seriousness as your lens package or lighting plan. The image pipeline begins at capture, and every successful raw workflow starts with realistic math.
Note: Calculator outputs are estimates intended for planning. Actual recorded file sizes can vary by camera system, sensor mode, implementation details, and production workflow.