ARRI Range Available for Hire

Throughout its long history, ARRI has offered filmmakers a range of diverse cameras suited to different production tasks. Its camera lineup has always comprised varied models for multiple uses and budgets, and mostly, they’re ultimately designed to be functional and user-friendly.

THE AMIRA VS THE ALEXA MINI

In this article, we’re looking at the:

ARRI Alexa Mini

ARRI Alexa Mini LF

ARRI Amira

‘Tiny, but mighty’ – the Alexa Mini provides the same superior image quality as the ALEXA, but in a compact, lightweight, and self-contained unit.

The ARRI Alexa Mini, and Alexa Mini LF have most of the features of the Alexa and Amira cameras including a 4:3 sensor, 200fps recording and the same look and colour science.

THE ALEXA MINI

Equipped with a 4:3 sensor, an automatic de-squeeze mode for anamorphic and frame rates of 0.75-200 fps, the Mini records ProRes or uncompressed ARRIRAW either in-camera to CFast 2.0 cards or to a specially-designed external Codex recorder that can record image streams from up to four ALEXA Minis simultaneously, opening up options for 360° plate shots and other special setups.

OVERVIEW

• 5K Full Frame single sensor
• LPL and PL mount
• Records to Codex flash drives
• Records 4.5K, 3.8K or HD
• Records ARRIRAW internally
• Records ProRes 4444XQ, ProRes 4444, ProRes 422HQ and ProRes 422
• High speed modes include up to 90fps in HD or 2K and 60fps in 3.8K UHD
• Same compact box design as the original Alexa Mini suitable for grips such as gimbals as well as any configuration for handheld or studio

Images from the ALEXA Mini perfectly match those from other ALEXA cameras potentially eliminating the complications of working with third-party cameras to achieve specialist shots and keeping everything in the same system.

Like the ARRI AMIRA, the Mini records 4K UHD ProRes images facilitating real-time 4K UHD output and simple pipelines for high-res deliverables.

As with all other ARRI cameras with ALEV III sensors, it will offer high-end image quality focusing on a large number of quality parameters in addition to spatial resolution.

The camera’s maximum frame rate of 200 fps (ProRes) means it will be able to achieve quality slow-motion. It will be able to record uncompressed ARRIRAW up to 30fps.

The ALEXA Mini’s interchangeable lens mount can be replaced with any of those designed for the AMIRA, allowing use of B4 video and EF mount stills lenses.

A built-in lens motor controller allows new active lens motors to be connected directly to the PL mount allowing the control of focus, iris, and zoom settings from ARRI hand units without an additional external box.

The ARRI Lens Data System technology provides frame-accurate metadata allowing precise adjustments to be made during a shot and potentially saving time on set and in post.

The camera can be operated in a variety of ways:

• • • By wireless remote control, as a normal camera with the ARRI MVF-1 multi viewfinder attached
    • With an onboard monitor and controlled via the user button interface on the camera body
    • It’s light enough to be comfortably held at arm’s length in a hand rig and will be extremely quiet in operation making it ideal in tight shooting conditions
    • The symmetrical design permits filming in any orientation including upside-down and in portrait with multiple accessory points enabling multiple mounting options

THE BUILD

The quality of the ALEXA build is continued with the ALEXA Mini: it has highly integrated and sealed electronics, a lightweight carbon housing, and a solid titanium PL mount that connects directly with the new internal sensor mount to ensure a super-stable flange focal distance even when using large lenses.

It appears nimble and hardy and its size means it will be easy to transport. It’s designed to be used with the new generation of gimbals, multicopters, and other specialized rigs.

ALEXA MINI LF

Alexa Mini LF Rental

Combining the compact size and low weight of the popular ALEXA Mini with the large-format ALEXA LF sensor, ALEXA Mini LF brings exciting new creative possibilities to ARRI’s large-format camera system.

ALEXA Mini LF is a go-anywhere camera that has a small footprint but delivers big images.

OVERVIEW

• 4:3, 16:9 super35 or Open Gate sensor modes
• PL, EF or B4 Mounts
• Records to CFast 2.0 cards
• Shoots HD, 2K, 3.2K or UHD 4K
• Records ProRes 4444XQ, 4444, 422HQ, 422, 422LT
• Records ARRIRAW internally
• Records up to 200fps (HD/2K up to ProRes 4444)
• Compatible with daisy chainable cmotion motors and will communicate directly with an ARRI WCU-4 handset for compact LCS
• Small uniform box design suitable for a range of stabilisers, drones etc
• Modular so can be configured for handheld, light weight and full studio rigs

RECORDING

Recording the same formats as ALEXA LF, but to the new, state-of-the-art and cost-effective Codex Compact Drive, the ALEXA Mini LF is a robust and reliable camera that features:

• Internal MXF/ARRI RAW and MXF/Apple ProRes recording
• Three internal motorized FSND filters, 12 V power input, extra 12 V and 24 V accessory power outputs
• Compatibility with ALEXA Mini accessories
• Additional user and lock buttons
• Improved WiFi
• Built-in microphones
• Easier access to connectors and media
• Anew MVF-2 high-contrast HD viewfinder

ALEXA Mini LF allows:

• Internal recording of MXF/ARRIRAW or MXF/Apple ProRes in a variety of formats and aspect ratios
• It’s the first camera to feature the new Compact Drive recording media from Codex
• The 1 TB drive offers a reliable, affordable recording solution
• It comes a USB-C Compact Drive Reader that can be used without any extra software or licenses on Mac or Windows computers.
• In addition, a Compact Drive Adapter can be used in any dock that accepts SXR Capture Drives, potentially more than doubling download speeds.

Codex High-Density Encoding (HDE) uses sophisticated, loss-less encoding to reduce ARRIRAW file sizes by around 40% during downloading or later in the workflow. This:

• Lowers storage costs
• Shortens transfer times
• Translates to a direct 40% saving in time and money.
• HDE is free-of-charge for use with Codex Capture or Compact Drives, openly shared, and fast: ARRIRAW Open Gate 4.5K can be encoded at 24 fps on a modern MacBook Pro.

MONITOR

ARRI’s new MVF-2 viewfinder for the ALEXA Mini LF are the same high-contrast HD OLED display, colour science, and ARRICAM eyepiece as in ALEXA LF’s EVF-2 viewfinder, allowing optimal judgement of focus, dynamic range, and colour on set.

In addition, the MVF-2 features a large, 4” flip-out monitor that can display the image or the camera control menu, providing maximum flexibility for different camera configurations.

The MVF-2 can be used on either side of the camera and connects via a new, flexible, and reliable CoaXPress VF cable that has a reach of up to 10 m for remote camera operations.

It features a refined user interface, a built-in eyepiece lens heater for de-fogging, and a built-in headphones connector

SOLID UNIT

Following in ARRI’s long tradition of manufacturing rugged, reliable cameras, ALEXA Mini LF is built for a prolonged life of tough usage in challenging professional conditions. With a hard-wearing carbon body and a uniquely wide temperature range of -20° C to +45° C (-4° F to +113° F)

ARRI AMIRA

THE AMIRA LOOK FEATURES

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.

OVERVIEW

• 5K Full Frame single sensor
• LPL and PL mount
• Records to Codex flash drives
• Records 4.5K, 3.8K or HD
• Records ARRIRAW internally
• Records ProRes 4444XQ, ProRes 4444, ProRes 422HQ and ProRes 422
• High speed modes include up to 90fps in HD or 2K and 60fps in 3.8K UHD
• Same compact box design as the original Alexa Mini suitable for grips such as gimbals as well as any configuration for handheld or studio

TOP CHARACTERISTICS

• Amira boots up quickly and can be used with no setting up, no rigging, and no delays & is perfect for unpredictable shooting
• The menu system 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
• Balances easily on the shoulder with a specialized dovetail system, whatever the combination of lens, microphone, accessories, and battery is in use
• Designed to snap into a quick-release tripod adapter plate
• 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 displaying live images when the eyepiece isn’t being used
• It provides full access to camera functions whilst remaining on the operator’s shoulder
• Has a tally light
• Records four channels of 24-bit 48Hz audio and features two XLR 3pin outputs with mic, line, phantom power, and AES3 support
• An XLR 5pin input with stereo/mono mic inputs, line inputs, and phantom power options
• Can be fitted with an ENG style attachable microphone as a side panel dedicated to audio levels can be accessed from the right side, minimizing disruption to the operator or can be set directly to Auto Level
• WiFi remote control capabilities, surround-view look around in the VF and outputs, continuous white balance modes, and extremely quiet operation noise (-20db)

SENSOR

The ARRI Amira 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.

DATA

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.

MOUNT

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.

PRE-LOADING

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 adjusted whilst filming. LUTs can either be “burnt in” to recorded footage or used purely for monitoring.

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.

This camera 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.

As a way of comparison, here’s footage of the Amira facing off against the Sony F55:

To hire ARRI Amira please email [email protected]

For more information on the Amira please visit the ARRI website

Friday, May 25th, 2018