ARRI Amira

The ARRI Amira expands ARRI’s digital camera offering into ENG and documentary style production. It 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, the ARRI AMIRA is hardy enough to take anywhere.

Throughout its long history ARRI has offered film and programme-makers a range of diverse cameras suited to different production tasks. Its camera line up has always comprised varied models for multiple uses and budgets. Common to all, however, has been the promise of creative liberation through functional, user-friendly design.

The ARRI Amira represents a seamless continuation of this tradition. It features the exceptional look of the ARRI ALEXA sensor and puts it into a lightweight and compact body designed to be ready for production right out of the box. Since the ARRI AMIRA’s sensor is the same as that of the ARRI ALEXA, you’ll get 14 stops of dynamic range, fantastic skin-tone rendition, a native ISO of 800 and EI range from 160 to 3200.

Recording in ProRes formats up to 4:4:4 in HD and 2K modes with frame rates up to 200fps allowing slow motion, the ARRI Amira includes all the standard frame rates of the ARRI ALEXA in addition to some interlaced frame rates (59.94i and 50i) which are necessary in some broadcast applications.

The CFast 2.0 cards are not only affordable but also offer super-fast data rates making the route to post production as simple as possible. They’re an open format, easily accessible to anyone, making high quality images available to even low budget productions.

The ARRI AMIRA offers different lens mount options which permit a vast range of current or vintage lenses to be used whilst also allowing flexibility of cost.

The ARRI AMIRA comes with a number of preloaded 3D LUT-based looks that can be applied on set during shooting, potentially saving time and money in post production. Alternatively, custom built 3D LUTs can be created by production in external grading systems then loaded into the camera and adjusting whilst filming. LUTs can either be “burnt in” to recorded footage or used purely for monitoring.

The ARRI Amira boots up quickly and can be used with no setting up, no rigging and no delays. Ready to record in the time it takes to lift it from bag to shoulder, it’s perfect for unpredictable shooting. The menu system of the ARRI Amira reflects the simplicity and ease of use of the ARRI ALEXA. Assignable buttons and dials are at easy reach. Integrated, motorized ND filters (with 0.6, 1.2 and 2.1) and zebra and false colour tools help exposure control, with advanced peaking making for fast and accurate focusing.

The ARRI Amira is easy to balance on the shoulder with a specialised dovetail system, whatever the combination of lens, microphone, accessories and battery is in use. It’s also designed to snap into a quick release tripod adapter plate.

The ARRI Amira boasts an innovative multi-viewfinder making life easy for a single operator by combining a 1280×1024 res OLED eyepiece with a fold-away 3.2” LCD monitor that displays live images when the eyepiece is not in use. It also provides full access to camera functions without having to remove the ARRI AMIRA from the operator’s shoulder. It also features a tally light.

The ARRI Amira records four channels of 24-bit 48Hz audio and features two XLR 3pin outputs with mic, line, phantom power and AES3 support. There is also one XLR 5pin input with stereo/mono mic inputs, line inputs and phantom power options. The camera can be fitted with an ENG style attachable microphone and has a side panel dedicated to audio levels which can be accessed from the camera right side minimizing disruption to the operator or set directly to Auto Level.

Additional features include WiFi remote control capabilities, surround-view look around in the VF and outputs, continuous white balance modes and extremely quiet operation noise (-20db).

The ARRI Amira is designed to be rugged and reliable with a solid internal skeleton that guarantees camera and lens stability. Sealed electronics provide top level protection against humidity and dust, while an integrated thermal core results in highly efficient cooling.

The ARRI Amira is particularly well suited to productions for which hand-held camera work and single operator usability are key factors, so is invaluable for documentary style work. Reportage and unscripted programming, promotional and corporate films, commercials and low budget features or dramas will also find the ARRI Amira provides both spectacular image quality and value.

For more information on the Amira please visit the ARRI website

Alternative ARRI cameras stocked at Shift 4 include

ARRI Alexa Mini

ARRI Alexa Mini LF

To hire ARRI Amira please email [email protected]

Viewfinder

• Revolutionary viewfinder (patent pending)
• OLED eyepiece viewfinder (1280x1024) combined with a fold-away 3.2 inch TFT display monitor with best daylight visibility and dual purpose for live video and camera settings
• Ideally positioned for single operator use
• New peaking function for more accurate focusing (quick access button)
• New zebra and false colour functions for exposure control (quick access button)
• Flexible and stable mounting bracket
• Solid and extending viewfinder cable connection
• Record button and configurable user buttons
• Tally light included

Ergonomics and tools

• Acclaimed and proven ARRI ALEXA menu structure with command&control home screen for immediate access to key functions
• Integrated ND filters (motorized) clear, 0.6, 1.2, 2.1
• Integrated WiFi module (WLAN access point) for camera remote functions
• Quick access buttons and switches for direct access to core camera settings
• User buttons for individual camera configuration
• Fast booting time
• Low power draw
• Lightweight, compact size
• ENG style attachable microphone mount for on-camera microphones
• Accessory fitting shoe for connecting a video light or other accessories
• D-Tap, RS and Hirose 4pin power out connectors
• CFast 2.0 cards for best high speed performance and lowest cost
• Recorded files can be transferred with standard CFast readers

Image quality

• Highest dynamic range with 14+ stops (ARRI DRT dynamic range chart)
• Best highlight handling
• Very low, further reduced noise level
• Natural skin tones
• Perfect colour separation
• Highest sensitivity at 800 ASA, and large EI range from 160 to 3200 ASA
• Sharp, natural images reproducing reality with best resolution

Image path and workflow

• In-camera colour grading with included 3D LUT based looks
• Access to various image parameters like CDL (offset, slope, power, saturation), knee, black gamma and others
• Loading custom 3D LUTs from external colour grading systems into the camera
• Rec709 and LogC recording
• HD 1920x1080 and 2K 2048x1152
• Surround view for visibility of objects outside the image area
• ProRes 4444, ProRes 422 (HQ), ProRes 422, ProRes 422 (LT)
• Interlaced and progressive scanning and output formats
• Native 1080/50i, 1080/25p, 1080/50p, 1080/59.94i, 1080/30p 1080/60p
• 0.75-200 frames including surround view on internal CFast 2.0 cards in ProRes 4444 full, uncompromised image quality (+)
• Pre-record function
• CFast 2.0 card internal recording: lower costs per GB, IT standard tools, best performance for high speed, long recording times – recording time up to 136 minutes with ProRes 422 HQ at 1080i/30 (on 2x 120GB cards)
• Electronic rolling shutter: 0.1- 359.9º
• Auto white balance and manual kelvin dial, direct access with quick access switch
• Presets for 3200K (tungsten), 4300K (fluorescent), 5600K (daylight) and 7000K (daylight cool). Automatic calculation or manual white balance for 2000 to 11000 kelvin, adjustable in 100K steps
• Auto tracking white balance
• Auto push iris (with ENG style lenses connected)

Audio

• 4 channel audio recording in 24Bit PCM 48kHz
• 4 audio input channels: 2x XLR 3pin: Mic In, Phantom Power, Line In, AES3 In 1 x XLR 5pin: Stereo/mono Mic In, Phantom Power, Line In
• Audio balancing: manually, with limiter or in automatic mode
• Flexible audio routing of all inputs to any audio recording channel
• Adjustable audio low/high pass filtering
• Bluetooth audio monitoring
• Headphone audio out with 3.5 mm headphone mini stereo jack
• Bluetooth audio recording track for annotations during record
• Separate display for accessing and monitoring all audio functions
• Hirose 12V 4pin power out connectors for powering audio receivers

Mechanics and electronics

• Flexible camera base mounts for ENG style or cine style operation
• Dove tail on top and bottom of camera for perfect shoulder balance adjustment for all kind of lenses and batteries (patent pending)
• Integrated thermal core for highly efficient cooling system
• Sealed and capsulated electronics for best protection against humidity and dust
• Solid internal skeleton for best stability of the PL mount and the camera body
• Silent operation: -20dB
• Ergonomically well placed connectors for audio, video, power, accessories, lenses, sync and timecode
• V-Lock and Anton Bauer Gold Mount

Lens mounts

• PL mount with ENG electronic interface for connection to e.g. Fujinon cabrio lenses with servo
• EF mount for Canon EF mount lenses due to arrive at Shift 4 in late 2014
• IB/E Optics HDx35 Mark II PL to B4 Adapter available to hire from Shift 4

Hire an ARRI Amira from us and you’ll find the following included:

• 1 x ARRI AMIRA body
• 1 x wedge plate adaptor (WPA-1)
• 1 x top mic
• 1 x ARRI quick release baseplate
• 1 x shoulder strap
• 1 x wet cover
• 1 x spare mini HDMI lead
• 4 x IDX batteries
• 1 x IDX charger
• 1 x IEC lead
• 3 x 120GB CFast 2.0 cards
• 1 x CFast 2.0 reader
• 1 x USB 3.0 lead
• 1 x EF lens mount (optional)