I really love the versatility of the Amira. It creates beautiful images while being robust and well balanced. I've been playing around with the S16 mode with older Super16 glass which allows to me to get that depth of field and the look of Super 16 film. And then there’s the beautiful colors and the natural grain textures of the Alev lll sensor.

I was shooting on the Amira which, generally speaking, for filming wildlife is my no. 1 choice. The accessibility of user buttons on the operator's side of the camera and the ability to switch frame rates so easily is essential when wildlife moments come and go in flash. I therefore need to be as quick as possible. Out of all the cameras I've used over the years, for me nothing comes close to the Amira on this front.

The main reason that we used the ARRI AMIRA and ALEXA Mini is that I love the ALEXA family of cameras and a proper 35 mm aesthetic. Back in the day, we used to shoot on film all the time, and the evolution of digital film cameras has finally caught up with the aspirations of producers and directors, so I now try to specify the ALEXA and AMIRA for all of my productions.

I love the Amira pictures; they are the best we have ever had in many years of doing this show.

I love the Amira pictures; they are the best we have ever had in many years of doing this show.

Having used the ALEXA and ALEXA Plus numerous times before, I was confident in what an ARRI product could do, and curious about the new AMIRA. After a brief testing period it quickly became clear that the AMIRA was going to be ideal for the shoot. I loved the camera and the footage we got from it was unreal; most importantly, myself and the director got exactly what we wanted.

We preferred AMIRA's large sensor, high resolution and of course its high dynamic range, and hoped that we could bring some exciting new changes to the show with the strengths of AMIRA. After shooting with the camera for two seasons we have gained a lot of valuable experience, which has helped to drive Hunan Television forward.

We managed to seamlessly integrate AMIRA with our Sokong EFP system, which enabled us to control iris...It integrated very well into our traditional live TV workflow.

We knew from the beginning that we would use many different cameras, but we wanted the lead camera to be the AMIRA because we love its natural and cinematic look. When it comes to images of people, especially faces, I haven’t seen anything that compares to that kind of quality.