The cinematic Super 35 live TV camera
The cinematic Super 35 live TV camera
Cinematic look for live broadcasts
Expanded Multicam features
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
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)
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.
The AMIRA Live supports a cable-less connection between the camera body and the fiber adapter, while the normal AMIRA needs to be connected to the fiber adapter by up to five cables.
Yes, you can easily remove the fiber adapter for like transportation or service purposes.
You can use the MVF-1 camera viewfinder instead of the VMM-1. It is not possible to connect an SDI monitor to the camera, however you may connect an SDI monitor (up to 3G SDI) to the fiber adapter.
You can connect a CCP-1, daisy-chained with the VMM-1. Or you can use the built-in web remote function through the ethernet connection or WiFi.
Yes, AMIRA Live supports all functions supported with the normal AMIRA. You can record locally to the recording media in parallel, also using a different frame rate or in Log C.
You need a B4 mount and a large lens adapter, available from the lens manufacturer. It is important to make sure that the large lens adapter supports serial communication with the lens.
No, all three cameras have the same sensor, color science, and image quality.
You can use both the Sony RCP 1500 and the RCP V2 from Skaarhoj.
With the Sony RCP 1500, only functions that use Sony's SSCP protocol are supported. These are basically the video (VLP) parameters. The RCP V2 from Skaarhoj supports both SSCP and the CAP based functions of the camera. This means that CDL parameters and loading of setup files and look files can be executed directly on the RCP.
Yes, but a B4 lens mount must be attached. This can be swapped out directly in the field.
Up to 2 km.