Representation of the broadcast camera for live production AMIRA Live.


Ergonomic design and cable-less fiber backend

Right lateral view of the 35 mm live TV camera.
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.

A look at the footage taken by the live production 35 mm camera AMIRA live.
Truly cinematic images


Cinematic look for live broadcasts

  • Uses ARRI’s legendary ALEV 3 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
Close-ups of the AMIRA Live 35mm broadcast camera with focus on allowing reliable configuration for live productions.
Representation of the Viewfinder Multicam monitor, which can be combined with the live production camera AMIRA Live.
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 suited to multi-camera livebroadcast
Ideally suited to multi-camera live broadcasts


With the AMIRA cameras I get an unprecedented cinematic look with unmatched contrast and backlight ratio for multi-camera applications, all in the familiar OB environment and handling for the camera crew.

Director Johannes Spiecker 

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’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

Showing the mulitcam camera in live production.
Showing the mulitcam camera amira live in live production.

Get in touch

Contact me for an offer on the new AMIRA Live and ARRI Multicam System.