AMIRA
Go anywhere, shoot anything
AMIRA - the perfect tool for your job - is a truly versatile camera that combines exceptional image quality and affordable CFast 2.0 workflows with an ergonomic design optimized for single-operator use and extended shoulder-mounted operation. Ready to pick up and shoot straight out of the camera bag, AMIRA is hardy enough to take anywhere and features in-camera grading with preloaded 3D LUTs, as well as 200 fps slow motion. The AMIRA ARRIRAW License Key enables in-camera 16:9 2.8K (2880 x 1620) MXF/ARRIRAW recording at frame rates of up to 48fps.
It is suitable for a great variety of production types, from TV drama and low-budget movies to nature films, sports coverage, commercials, reportage, branded content and multi-camera live TV. Wherever you are headed and whatever you need to shoot, let AMIRA be your companion.
Credits
Features
Exceptional image quality
- ALEXA image quality up to 200fps
- Recording option up to 4K UHD
- Dynamic range of 14+ stops and low noise
- Natural skin tones and breathtaking color rendition
- Optional ARRIRAW License
Single user ergonomics
- Quick start-up – ready to shoot
- Optimized for the single operator
- Sliding dovetails – perfect shoulder balance
- Internal FSND filters (0.6/1.2/2.1)
- OLED eyepiece and fold-away LCD monitor
- Multi-channel audio – easy-access controls
Cost efficient in-camera grading
- Preloaded/custom-built 3D LUTs and looks
- Adjustable looks – total color control on set
- ARRI Look Library support - a repertoire of 87 predefined creative color gradings, each in three intensities
- High creativity, low postproduction costs
Huge variety of lens options
- Rapidly interchangeable lens mounts
- PL or LPL-Mount for cine-style lenses, including those compatible with the ARRI Lens Data System, which allows lens metadata to be recorded via the ARRI Electronic Control System
- B4 lens mount permits the use of 2/3” video-style B4 lenses, while the PL to B4 adapter allows instant interchangeability between the two
- EF lens mount provides compatibility with widespread and affordable stills photography lenses
Cinematic Multicam in HDR
- AMIRA supports workflows for live multi-camera productions in HDR according to BT.2100
- Hybrid Log Gamma (HLG) or Perceptual Quantizer (PQ)
- Cost efficient multicast HDR and SDR workflow with HLG
- Works with all AMIRA cameras and standard DTS camera chain components
- Best HDR with ARRI cameras
Available for all AMIRA models, the Multicam mode makes the exceptional image quality of ARRI’s ALEV III sensor available to productions within the multi-camera broadcast sphere. Through a Multicam setup, the AMIRA’s shallow depth of field, unrivalled dynamic range and natural colorimetry can lend a cinematic look to live broadcasts, music concerts, TV soaps, and other fast-paced, multi-camera productions.
At its core, Multicam is a simple and flexible interface that can be used with virtually any transmission system required. It allows the image parameters of multiple AMIRA cameras, including iris setting, to be controlled remotely using a Sony Remote Control Panel (RCP).
Quotes
Even a couple feet from 1000 degree flames, our AMIRA and ARRI Alura zoom kept rolling - a testament to the quality we`ve come to expect from ARRI day in and day out.
Cinematographer Steven Holleran ( Known for: Age of AI and many more)
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 lll 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)
Related products
Tech Talks
Technical Data
Model
AMIRA
Sensor Type
Super 35 format ARRI ALEV III CMOS sensor with Bayer pattern color filter array
Sensor Maximum Resolution and Size
3200 x 1800
28.25 x 18.17 mm / 1.112 x 0.715"
⌀ 33.59 mm / 1.322"
28.25 x 18.17 mm / 1.112 x 0.715"
⌀ 33.59 mm / 1.322"
Sensor Frame Rates
0.75 - 200 fps
Weight
∼4.1 kg / ∼9.2 lbs
(camera body with PL lens mount)
(camera body with PL lens mount)
Photosite Pitch
8.25 μm
Sensor Active Image Area (photosites)
S16 HD: 1600 x 900
HD: 2880 x 1620
2K: 2868 x 1612
3.2K: 3200 x 1800
4K UHD: 3200 x 1800
ARRIRAW 16:9 2.8K: 2880 x 1620
HD: 2880 x 1620
2K: 2868 x 1612
3.2K: 3200 x 1800
4K UHD: 3200 x 1800
ARRIRAW 16:9 2.8K: 2880 x 1620
Sensor Active Image Area (dimensions)
S16 HD: 13.20 x 7.43 mm / 0.520 x 0.292"
HD: 23.76 x 13.37 mm / 0.935 x 0.526"
2K: 23.66 x 13.30 mm / 0.932 x 0.524"
3.2K: 26.40 x 14.85 mm / 1.039 x 0.585"
4K UHD: 26.40 x 14.85 mm / 1.039 x 0.585"
ARRIRAW 16:9 2.8K: 23.76 x 13.37 mm / 0.935 x 0.526"
HD: 23.76 x 13.37 mm / 0.935 x 0.526"
2K: 23.66 x 13.30 mm / 0.932 x 0.524"
3.2K: 26.40 x 14.85 mm / 1.039 x 0.585"
4K UHD: 26.40 x 14.85 mm / 1.039 x 0.585"
ARRIRAW 16:9 2.8K: 23.76 x 13.37 mm / 0.935 x 0.526"
Recording File Container Size (pixel)
S16 HD: 1920 x 1080
HD: 1920 x 1080
2K: 2048 x 1152
3.2K: 3200 x 1800
4K UHD: 3840 x 2160
ARRIRAW 16:9 2.8K: 2880 x 1620
HD: 1920 x 1080
2K: 2048 x 1152
3.2K: 3200 x 1800
4K UHD: 3840 x 2160
ARRIRAW 16:9 2.8K: 2880 x 1620
Recording File Image Content (pixel)
ProRes S16 HD: 1920 x 1080
ProRes HD: 1920 x 1080
ProRes 2K: 2048 x 1152
ProRes 3.2K: 3200 x 1800
ProRes 4K UHD: 3840 x 2160
ARRIRAW 16:9 2.8K: 2880 x 1620
ProRes HD: 1920 x 1080
ProRes 2K: 2048 x 1152
ProRes 3.2K: 3200 x 1800
ProRes 4K UHD: 3840 x 2160
ARRIRAW 16:9 2.8K: 2880 x 1620
Exposure Latitude
14+ stops over the entire sensitivity range from EI 160 to EI 3200 as measured with the ARRI Dynamic Range Test Chart (DRTC-1)
Exposure Index
Adjustable from EI 160-3200 in 1/3 stops
EI 800 base sensitivity
EI 800 base sensitivity
Shutter
Electronic shutter, 5.0°- 356° or 1s - 1/8000s
Recording Formats
MXF/ARRIRAW
Apple ProRes 4444 XQ
Apple ProRes 4444
Apple ProRes 422 HQ
Apple ProRes 422
Apple ProRes 422 LT
MPEG-2 HD
Apple ProRes 4444 XQ
Apple ProRes 4444
Apple ProRes 422 HQ
Apple ProRes 422
Apple ProRes 422 LT
MPEG-2 HD
Recording Media
CFast 2.0 Cards
Recording Frame Rates
ProRes HD: 0.75 - 200 fps
ProRes S16 HD: 0.75 - 200 fps
ProRes 2K: 0.75 - 200 fps
ProRes 3.2K: 0.75 - 60 fps
ProRes UHD: 0.75 - 60 fps
MFX/ARRIRAW 16:9 2.8K: 0.75 - 48 fps
MPEG-2 HD: 23.976 - 59.94 fps
ProRes S16 HD: 0.75 - 200 fps
ProRes 2K: 0.75 - 200 fps
ProRes 3.2K: 0.75 - 60 fps
ProRes UHD: 0.75 - 60 fps
MFX/ARRIRAW 16:9 2.8K: 0.75 - 48 fps
MPEG-2 HD: 23.976 - 59.94 fps
Recording Modes
Standard real-time recording
Pre-recording
Intervalometer
Stop Motion
Pre-recording
Intervalometer
Stop Motion
Viewfinder Type
Multi Viewfinder MVF-1 with 3,2" flip-out monitor
Camera Control Panel (CCP-1) with option to daisy-chain MVF-1
Camera Control Panel (CCP-1) with option to daisy-chain MVF-1
Viewfinder Technology
OLED viewfinder display
LCD fold out monitor
LCD fold out monitor
Viewfinder Resolution (pixel)
1280 x 720
Viewfinder Diopter
Adjustable from -5 to +5 diopters
Color Output
Rec 709
Rec 2020
Log C
Custom Look (ARRI Look File ALF-2)
Rec 2020
Log C
Custom Look (ARRI Look File ALF-2)
Look Control
Import of custom 3D LUT
ASC CDL parameters (slope, offset, power, saturation)
Knee, gamma, saturation, black gamma, saturation by hue
Support of ARRI Look Library
ASC CDL parameters (slope, offset, power, saturation)
Knee, gamma, saturation, black gamma, saturation by hue
Support of ARRI Look Library
White Balance
Manual and auto white balance, adjustable from 2000K to 11000K in 10K steps
Color correction adjustable range from -16 to +16 CC
1 CC corresponds to 035 Kodak CC values or 1/8 Rosco values
Color correction adjustable range from -16 to +16 CC
1 CC corresponds to 035 Kodak CC values or 1/8 Rosco values
Filters
Built-in motorized ND filters 0.6, 1.2, 2.1
Fixed optical low pass, UV, IR filter
Fixed optical low pass, UV, IR filter
Image Outputs
1x proprietary signal output for MVF-1 viewfinder
2x SDI Out: 1,5G (SMPTE ST292-1), 3G (SMPTE ST425-1, ST425-3), 6G & DL 6G (SMPTE ST2081-10, ST2081-11)
uncompressed video with embedded audio and metadata
2x SDI Out: 1,5G (SMPTE ST292-1), 3G (SMPTE ST425-1, ST425-3), 6G & DL 6G (SMPTE ST2081-10, ST2081-11)
uncompressed video with embedded audio and metadata
Lens Squeeze Factors
1.00
1.30
1.30
Exposure and Focus Tools
False Color
Zebra
Zoom
Waveform
Aperture and Color Peaking
Zebra
Zoom
Waveform
Aperture and Color Peaking
Audio Input
2x XLR 3pin Mic/Line Input with 48V Phantom Power, switchable to AES3
1x XLR 5pin Mic/Line Input with 48V Phantom Power
(Line input max. level +24dBu correlating to 0dBFS)
Bluetooth whisper track
1x XLR 5pin Mic/Line Input with 48V Phantom Power
(Line input max. level +24dBu correlating to 0dBFS)
Bluetooth whisper track
Audio Output
3,5mm stereo headphone jack
Bluetooth audio
SDI (embedded)
Bluetooth audio
SDI (embedded)
Audio Recording
4 channel linear PCM, 24 bit 48 kHz
1 channel Bluetooth whisper track
1 channel Bluetooth whisper track
Remote Control Options
Web-based remote control from phones, tablets and laptops via WiFi & Ethernet
Camera Access Protocol via Ethernet & WiFi
GPIO interface for integration with custom control interfaces
Camera Access Protocol via Ethernet & WiFi
GPIO interface for integration with custom control interfaces
Interfaces
1x BNC LTC Timecode In/Out
1x BNC SDI Ret/Sync In (opt. separate analog Genlock In)
1x LEMO 6pin EXT multi purpose accessory interface
1x Hirose 12pin (on PL lens mount)
1x RJ45 Ethernet for remote control and service
2x USB 2.0 (for user setups, look files etc)
1x BNC SDI Ret/Sync In (opt. separate analog Genlock In)
1x LEMO 6pin EXT multi purpose accessory interface
1x Hirose 12pin (on PL lens mount)
1x RJ45 Ethernet for remote control and service
2x USB 2.0 (for user setups, look files etc)
Wireless Interfaces
Built-in WiFi module (IEEE 802.11b/g)
Built-in Bluetooth module
Built-in Bluetooth module
Lens Mounts
PL lens mount with Hirose connector and LDS
EF lens mount
B4 lens mount with Hirose connector
LPL lens mount with LBUS connector
Leitz Cine Wetzlar M lens mount
EF lens mount
B4 lens mount with Hirose connector
LPL lens mount with LBUS connector
Leitz Cine Wetzlar M lens mount
Flange Focal Depth
PL mount: 52 mm
LPL mount: 44 mm
LPL mount: 44 mm
Power Input
1x LEMO 8pin (10.5-34 V DC)
1x On-board battery interface (10.5-24 V DC)
1x On-board battery interface (10.5-24 V DC)
Power Consumption
min. 52W
max. 84W
(Camera body with MVF-1)
max. 84W
(Camera body with MVF-1)
Power Outputs
1x Fischer 3pin 24V RS
1x LEMO 2pin 12V
1x Hirose 4pin 12V
1x LEMO 6pin EXT 24V
1x LEMO 2pin 12V
1x Hirose 4pin 12V
1x LEMO 6pin EXT 24V
Power Management
Active ORing between BAT connector
and on-board battery adapters
Measurements (HxWxL)
149 x 139 x 309 mm / 5.8 x 5.4 x 12.1"
(camera body with PL lens mount)
(camera body with PL lens mount)
Operating Temperature
-20° C to +50° C / -4° F to +122° F @ 95% relative humidity max, non condensing, splash and dust proof through sealed electronics
Storage Temperature
-30° C to +70° C / -22° F to +158° F
Sound Level
< 20 dB(A) at 24fps
Software Licenses
AMIRA Advanced License Key
AMIRA Premium License Key
AMIRA 4K UHD License Key
AMIRA ARRIRAW License Key
ARRI Look Library License Key
AMIRA Premium License Key
AMIRA 4K UHD License Key
AMIRA ARRIRAW License Key
ARRI Look Library License Key
Master Grip Support
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.
FAQ
-
Can you explain the differences between sensor modes, recording formats and distribution formats?
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. -
Can I upgrade all AMIRA models with the 4K UHD license?
Yes, all AMIRA models can be upgraded with the 4K UHD license. This requires a 4K UHD calibrated camera.
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Which looks are delivered with the camera?
The following are the default looks of the camera:
- ARRI 709 - renders the video image according to the ITU.R-BT709 standard
- ALEXA Classic 709 - matches the color reproduction to the ARRI ALEXA
- ARRI 2100 HLG 1K 200 - renders an image for a HLG (Hybrid Log Gamma, ITU-R BT.2100) monitor
- ARRI 2100 PQ 1K 200 - renders an image for a PQ (SMPTE 2084, ITU-R BT.2100) monitor
- ARRI 709 Multicam - editable version of ARRI 709 for use with the multicam feature
- Commercial - renders the image brighter for smoother skin tones
- Landscape - applies a steeper contrast curve to the image
- LCC 709 - Low Contrast Curve look that keeps more details in highlights for color correction purposes
- TV neutral - an ARRI 709 like look, which is more saturated in colors with slightly lower blacks
- TV warm - same as TV neutral, just with a little bit warmer look overall
- Vibrant - boosts color saturation except for red and yellow (skint one protection)
- ARRI Look Library - collection of 87 looks
-
How can I create looks to be loaded to the camera?
Looks can be created with the ARRI Color Tool. This tool is available for free on our website.
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Why would I want to shoot ProRes 3.2K?
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.
