AMIRA scores in Argentina

AMIRA scores in Argentina

AMIRA was put to the test in Buenos Aires capturing a key soccer game for Club Defensa y Justicia. The documentary-style camera filmed the players, coaches and audience celebrating the exciting advancement into Argentina’s Division A for the first time in the team’s history. Production needed a versatile camera with an efficient workflow, given the finished project would screen six hours after the shoot wrapped for a presentation at Broadcast Video Solutions. The screening was viewed by cinematographers, directors, producers, plus various camera and lighting crew.

ARRI AMIRA demo in Argentina

AMIRA was put to the test in Buenos Aires capturing a key soccer game for Club Defensa y Justicia. Production needed a versatile camera with an efficient workflow, given the finished project would screen six hours after the shoot wrapped for a presentation at Broadcast Video Solutions.

The video was produced, edited and color corrected by local postproduction house Sinsistema. Ramiro Civita, ADF and Sebastian Toro of Sinsistema operated AMIRA with a Fujinon Cabrio 19-90 mm in slow motion and handheld situations to record the special event. Watch the video and read our interview with Toro about working with AMIRA for the first time.

What is your role at Sinsistema?

I founded the company at 2008 with Lucas Sambade. Both of us started working as DITs. Later we became technical producers, and we also worked as consultants for certain projects. Now I am involved in developing new business areas and also I continue working on set as a cameraman (I love cameras) and technical/workflow supervisor.

How big was the crew for the shoot?

The crew was bigger because we had certain limitations (only one CFast card, no pre-production), so we had one cameraman, one producer helping with the organization and access, one DIT who also assisted with the camera prep and to help with the card offload and to keep the stuff under control.

How did the camera perform?

The camera performs nicely and was a very good upgrade to ALEXA in my opinion. Quick to setup, very close to ALEXA operation, a lot of audio upgrades, very nice ergonomics and weight balance, less heavy and 200 fps full quality.

What format did you shoot in?

We chose 1080p 23.976 ProRes 422 HQ because of the limited number of cards. Otherwise I would shoot ProRes 444 every time.

Did you make use of the in-camera filters?

Yes, we did. We mostly shot during the night, but at the beginning of the day we used the internal ND6. This is very cool for one man operating and to lessen the weight.

How was recording sound?

This is a big change. The connection side is very handy and the menu setup is very easy to figure out, even for a sound guy who doesn’t know the camera. We didn't have a complex setup for this shoot, but the [sound set up] advantages over ALEXA are dramatic.


ProRes has been a simple and direct workflow since the beginning of ALEXA. We usually do a pre-grade or apply a LUT and transcode to ProRes LT for editing our projects. This time because we were cutting and showing the results in six hours we used the original Log C footage in Final Cut X. The next step was XML files to DaVinci Resolve and a fast grade to match scenes and bring in the contrast we like. We didn't utilize any masks nor complex grading, just a first light. Then we brought the credits into the DaVinci timeline and mastered the output from there.

What are some of the things you like about the camera?

The design for one operator is cool -- top and bottom sliders for balance are perfect, the switches for fast access, the new audio interface and dedicated control panel, 2K ProRes 444 200 fps, BNC timecode, and the more compatible and open 3D LUT/CDL approach for look management. Also I love being able to reposition the LCD viewfinder for low mode or higher-than-eye camera positions. It is very handy and helps a lot for framing in those conditions.

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