AMIRA Live - KeyVisual 1_beams

AMIRA Live

The cinematic Super 35 live TV camera

AMIRA Live - Configuration - white - right
Purpose-designed for ARRI Multicam

AMIRA Live features internal cabling between the camera body and the 1820 Fiber Camera Adapter, resulting in a cleaner and more reliable configuration for live broadcast environments. This efficient, cable-less design makes AMIRA Live more like the traditional system cameras typically used for multi-camera broadcasts, while the Super 35 ARRI sensor delivers uniquely cinematic images.

AMIRA_Live_Benefit_1
Truly cinematic images

Features

Cinematic look for live broadcasts

  • Uses ARRI’s legendary ALEV III Super 35 sensor – the same sensor design as used in all ALEXA cameras
  • Unsurpassed overall image quality and sophisticated ARRI color science
  • Natural, flattering skin tones
  • Highest dynamic range of over 14 stops
  • Live broadcast images on a par with high-end movies, TV series, and OTT productions
  • Record in-camera for post, finishing, or slow-motion effects, while simultaneously transmitting live HD or UHD signals

Expanded Multicam features

  • New SUP 6.1 software update adds enhanced multicam functionality
  • Improved noise reduction, increased sharpness, better defect pixel correction, and faster boot-up
  • Intercom talkback via the VTR or user button for easier communications when operating the camera from the shoulder
  • Enhanced system support with green tally in the viewfinder and automatic boot-up
  • Use cine-style lenses with the same workflow as system camera lenses: no additional device needed for direct RCP iris control via cforce RF motors

Reliable configuration for live productions

  • Elimination of external cables between AMIRA Live and fiber backend
  • Ideally suited to multi-camera live broadcasts
  • Faster setup of the camera system
  • Reduced risk of accidental cable disconnection or damage
  • Cleaner camera configuration easier to work with for camera operators
AMIRA_Live_vs_AMIRA_Animation
K0-0039106 Multicam Monitor bundle VMM-1 & MYS-1 - straight (1)
ARRI VMM-1 monitor

The Viewfinder Multicam Monitor VMM-1 is a versatile, 10-inch onboard monitor that connects directly to the camera viewfinder interface or can be daisy-chained with the Camera Control Panel CCP-1. It includes controls for contrast, color, backlight, and peaking (including peaking on/off switch), a physical on/off switch for the frontside tally, and two camera user buttons. Accompanying the monitor is ARRI’s adjustable, quick-release Monitor Yoke Support MYS-1 bracket, designed specifically for the VMM-1 and for Multicam setups. 

AMIRA_Live_Benefit_2_1
Ideally suited to multi-camera live broadcasts

Quotes

Using the unparalleled dynamic range of the ARRI cameras on a challenging live production gave us flexibility to create the ultimate look for our show. On night shots, with a never-ending city of lights in the background, that high dynamic range gave us something that no other camera in the world can capture so beautifully. The impressive color space, range, and never-doubtful performance of the cameras truly contributed to a cinematic style.

Remco Evers, executive creative director NOMOBO.TV

The ARRI cameras have left an amazing impression on me, because of their incomparable quality. The brilliance, the depth of field, and the images are unique to such an extent that the whole crew had to adapt.

Rolf Sturm, TV director (BVR)

I was thrilled by the extraordinary color fidelity of the ARRI cameras, and how they handled high saturation. You have greater creative opportunities, as the AMIRA Live has many more capabilities than classic broadcast cameras, and it is also more forgiving.

Thomas Gerdon, Director of Photography, GERDON DESIGN GmbH

I was able to help design “Thadeusz and the Artists” from the beginning and was very pleased that instead of the usual 2/3" broadcast cameras, we used four ARRI AMIRAs. The setup was intuitive and absolutely suitable for a fast-paced talk show with a lot of quick changes. Even looking through the viewfinders it was clear that we were getting a completely different, cinematic look, which is unheard of on a talk show. I am happy that ARRI offers its cameras for TV formats and would be eager to work with this setup again on the next production.

DP Fabian Welther

The most important advantages of AMIRA are definitely the picture quality and its versatility. In the past, our cameras were separated between Multicam or reports on the one side and image films or scenic productions on the other. Now we no longer need two types of cameras, only the AMIRAs.

Andreas Schech, founder and head of VPS Media

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
 

We’ve had a very good experience with the AMIRA Multicam system. It gives me access to the cameras via the network, which enables me to see the camera from the top of the control room and operate it via remote triggering. The cameras also internally record as a back-up. We have a much higher dynamic range, which is definitely noticeable in the picture. And since the studio has been completely converted to LEDs, which can also be used to produce colored light, the camera already have a great look, without us having to add a lot of look.

Joachim Richerzhagen, BTF,  shooting „Neo Magazin Royale“ Show for ZDF (Germany’s national public television broadcaster)
 

Video Room

Set components

K2.0000399

Quick Release Baseplates

QRP-1-Baseplate

  1. Camera Systems
  2. PCA: Mechanical Accessories
  3. Camera Support Systems
  4. Camera independent accessories
  5. Quick Release Baseplates
  6. QRP-1-Baseplate
AMIRA Kits - Bundle I Lightweight - 0001

Suggested Kits

Kit for AMIRA / Accessory Bundle I / Lightweight

  1. Camera Systems
  2. PCA: Mechanical Accessories
  3. Camera Support Systems
  4. Support Systems for ARRI Cameras
  5. Support Systems for AMIRA
  6. Suggested Kits
  7. Kit for AMIRA / Accessory Bundle I / Lightweight
Panasonic-EVA-1---Lightweight---Broadcast---EF-Mount----0009

Suggested Kits

Broadcast EF-Mount Kit for AU-EVA1

  1. Camera Systems
  2. PCA: Mechanical Accessories
  3. Camera Support Systems
  4. Panasonic
  5. Panasonic EVA-1
  6. Suggested Kits
  7. Broadcast EF-Mount Kit for AU-EVA1
K0.0010062

Sets

Broadcast Set for RED DSMC2

  1. Camera Systems
  2. PCA: Mechanical Accessories
  3. Camera Support Systems
  4. RED
  5. Sets
  6. Broadcast Set for RED DSMC2
AMIRA Kits - Bundle II Lightweight - 0001

Suggested Kits

Kit for AMIRA / Accessory Bundle II / Lightweight

  1. Camera Systems
  2. PCA: Mechanical Accessories
  3. Camera Support Systems
  4. Support Systems for ARRI Cameras
  5. Support Systems for AMIRA
  6. Suggested Kits
  7. Kit for AMIRA / Accessory Bundle II / Lightweight
K0.0010073

Sets

Broadcast Pro Set for Panasonic VariCam

  1. Camera Systems
  2. PCA: Mechanical Accessories
  3. Camera Support Systems
  4. Panasonic
  5. Panasonic VariCam LT
  6. Sets
  7. Broadcast Pro Set for Panasonic VariCam
KI.T200290 ARRI PCA for Sony FS7II-FX9 - Lightweight - PL-Mount 0003

Suggested Kits

LWS E-Mount Kit for Sony FS7II_FX9

  1. Camera Systems
  2. PCA: Mechanical Accessories
  3. Camera Support Systems
  4. Sony
  5. Sony PXW-FS7II & FX9
  6. Suggested Kits
  7. LWS E-Mount Kit for Sony FS7II_FX9
KK.0017142 Pro Set for Sony Venice

Sets

Pro Set for Sony Venice

  1. Camera Systems
  2. PCA: Mechanical Accessories
  3. Camera Support Systems
  4. Sony
  5. Sony Venice
  6. Sets
  7. Pro Set for Sony Venice
KI.T000470

Suggested Kits

LWS Broadcast Kit for Sony F5 / F55

  1. Camera Systems
  2. PCA: Mechanical Accessories
  3. Camera Support Systems
  4. Sony
  5. Sony PMW F5 & F55
  6. Suggested Kits
  7. LWS Broadcast Kit for Sony F5 / F55
KK.0017141-Basic-Set-for-Sony-Venice_new2021

Sets

Basic Set for Sony Venice

  1. Camera Systems
  2. PCA: Mechanical Accessories
  3. Camera Support Systems
  4. Sony
  5. Sony Venice
  6. Sets
  7. Basic Set for Sony Venice
KI.T200300 ARRI PCA for Sony FS7II-FX9 - Lightweight - EF-Mount 0012

Suggested Kits

LWS PL- Mount Kit for Sony FS7II/ FX9

  1. Camera Systems
  2. PCA: Mechanical Accessories
  3. Camera Support Systems
  4. Sony
  5. Sony PXW-FS7II & FX9
  6. Suggested Kits
  7. LWS PL- Mount Kit for Sony FS7II/ FX9
K0.0013592

Sets

Broadcast Pro Set for Canon C700

  1. Camera Systems
  2. PCA: Mechanical Accessories
  3. Camera Support Systems
  4. Canon
  5. Support Systems for Canon C700
  6. Sets
  7. Broadcast Pro Set for Canon C700
K0.0007631

Sets

Pro Broadcast Set for C300 MkII + QRP-1

  1. Camera Systems
  2. PCA: Mechanical Accessories
  3. Camera Support Systems
  4. Canon
  5. Support Systems for Canon C300 MKII
  6. Sets
  7. Pro Broadcast Set for C300 MkII + QRP-1
KK.0016052

Sets

Pro Broadcast Set For Canon C200 + QRP-1

  1. Camera Systems
  2. PCA: Mechanical Accessories
  3. Camera Support Systems
  4. Canon
  5. Support Systems for Canon C200
  6. Sets
  7. Pro Broadcast Set For Canon C200 + QRP-1
K2.0000399
QRP-1-Baseplate
Technical Data
Model
AMIRA Live
Sensor Type
Super 35 format ARRI ALEV III CMOS sensor with Bayer pattern color filter array
Sensor Maximum Number of Photosites and Size
3200 x 1800
26.40 x 14.85 mm / 1.039 x 0.585"
⌀ 30.29 mm / 1.193"
Sensor Frame Rates
0.75 - 200 fps
Weight
∼5.2 kg / ∼11.5 lbs
(camera body with DTS Fiber Adapter and 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
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"
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
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
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
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
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
Recording Modes
Standard real-time recording
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
Viewfinder Technology
OLED viewfinder display
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)
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
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
Filters
Built-in motorized ND filters 0.6, 1.2, 2.1
Fixed optical low pass, UV, IR filter
Image Outputs
1x proprietary signal output for MVF-1 viewfinder
2x SDI Out via D-SUB 24W7 on camera rear: 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
Exposure and Focus Tools
False Color
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
Audio Output
3,5mm stereo headphone jack
Bluetooth audio
SDI (embedded)
Audio Recording
4 channel linear PCM, 24 bit 48 kHz
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
Interfaces
1x D-SUB 24W7 (LTC Timecode, Ret/Sync In, Genlock, Ethernet, Power In)
1x LEMO 6pin EXT multi purpose accessory interface
1x Hirose 12pin (on PL lens mount)
2x USB 2.0 (for user setups, look files etc)
Wireless Interfaces
Built-in WiFi module (IEEE 802.11b/g)
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
Flange Focal Depth
PL mount: 52 mm
LPL mount: 44 mm
Power Input
10.5-34 V DC via D-SUB 24W7 on camera rear
Power Consumption
min. 52W
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
Power Management
Measurements (HxWxL)
182 x 147 x 374 mm / 7.2 x 5.8 x 14.7"
(camera body with DTS Fiber Adapter and 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
RBB_Production
David_Guetta_Multicam_Production
P1066208

ARRI Multicam System

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.