References & Partners

I have been using the ARRI Multicam System on some of the biggest multi-camera live shows in the UK. It is intuitive, in line with the demands of the industry, and most importantly reliable.

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.

Since 2014 I have pursued a cinematic look for multi-camera shoots. It's not without reason that we have invested in two ARRI-based OB trucks. For me, it is the best multi-camera system on the market.

The DFB Cup Final is an absolute highlight for TVN every year. In 2021, we used an ARRI ALEXA Mini camera for the first time; it delivered images with an individual look that captured emotions particularly well. With the ALEXA Mini, we can offer directors an additional option to further enrich the show for the TV audience.

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.

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.

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.

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.

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 each camera from the top of the control room and operate them via remote triggering. The cameras also record internally as a backup. We have a much higher dynamic range, which is definitely noticeable in the picture. And since the studio has been completely converted to LEDs that can produce colored light, and the cameras already have a great look, we don’t need to add a lot of look.