Go anywhere, shoot anything
Go anywhere, shoot anything
Huge variety of lens options
ARRI Multicam is a simple-to-integrate fiber transmission system for multi-camera live broadcasts. The combination of ARRI cameras and the 1800 fiber system, controlled via an industry-standard RCP (Remote Control Panel), delivers a cinematic look with the efficiency of a live transmission system. Productions can record in-camera for post, finishing, or slow-motion, while simultaneously transmitting live HD or UHD signals to a broadcast facility, stage display, or social media channel using standard production environments like OB vans or studios.
We love using the AMIRA Multicam, because of the outstanding images the AMIRAs capture - and the high-standard build of the camera. Technically, the DTS fiber system brings you all the features you expect, and so we can create a really good workflow.
Thomas Bischofer, Ruptly’s Head of Production, creating coverage for FIFA
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.
Tom Rowland, shooting WINTER FLOCKS for the Royal Society for the Protection of Birds, UK
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 3 sensor.
Cinematographer Tom Revington, (Known for: shooting commercial for Levi's "United By The Beat" featuring Rouge, Smirnoff "Desirability" , UNICEF "Christmas Gifts" and many more
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.
Cinematographer Si Bell, shooting a feature film called TIGER RAID (Known for: Peaky Blinders, Electricity, Tiger Raid and many more)
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.
Richard Ladkani, Director and Cinematographer, shooting THE IVORY GAME, the Netflix documentary feature film. (Known for: The Ivory Game, The Devil's Miner, Sea of Shadows and many more)
The Master Grips provide a comfortable way of controlling EF, ENG and cine style lenses while holding the camera stable on the shoulder. Camera control functionality includes REC and user button access. The ability to adjust focus and iris of EF mount lenses using Master Grips allows for an interesting package solution for documentary and handheld operators, who prefer smaller EF lenses due to their weight and cost.
A sensor mode defines an aspect ratio, which defines the area on the sensor that is being captured. A recording format define what is being recorded in-camera in the file. So while a sensor mode defines a certain number of photosites on the sensor, those may be recorded straight or up or down-sampled to create the pixels of the recording format. A distribution format defines how the final product is delivered to the consumer. The contents in the recording format is often up or down-sampled, cropped, repositioned or rotated in post before it becomes the final distribution format.
An example: Choosing a 16:9 sensor mode on the camera allows the further choice of various recording formats. Choosing the 4K UHD recording format means that a 16:9 area from the sensor is read out, up-sampled in camera to a 4K UHD image and then recorded. In this case the recording format of 4K UHD is the same as the distribution format of 4K UHD.
Yes, all AMIRA models can be upgraded with the 4K UHD license. This requires a 4K UHD calibrated camera.
The following are the default looks of the camera:
Looks can be created with the ARRI Color Tool. This tool is available for free on our website.
ProRes 3.2K is a recording format that is quickly gaining popularity. It is being used on major TV series like Game of Thrones, on many Amazon projects and on various feature films. The reason is that it has a lower data rate than ProRes 4K UHD (in fact about 33% less data) and thus is less expensive to record on set and to process in post. It can then be used for an HD or 2K deliverable (with extra image area for re-sizing, rotating, re-framing or stabilizing) or, with only a slight up-sample, for a 4K UHD deliverable.