ARRI AMIRA

EXCEPTIONAL IMAGE QUALITY

• Same 35 mm sensor as ALEXA
• 4K UHD 3840×2160 (with license), HD 1920×1080;
• Rec 709
• ProRes recording up to 422 on CFast 2.0 cards
• Dynamic range of 14+ stops
• Natural colors and skin tones
• Up to 100 fps – full sensor area

AMIRA features the same sensor and exceptional image quality as the ARRI ALEXA, recording superior HD 1080 pictures that are suitable for any distribution format. With a dynamic range of more than 14 stops, low noise levels, subtle highlight handling, natural color rendering, breathtaking skin tones and speeds of up to 100 fps, AMIRA will deliver beautiful, life-like images in any situation.

SINGLE-USER ERGONOMICS

• Quick start-up – ready to shoot
• Optimized for the single operator
• Sliding dovetails – perfect shoulder balance
• Internal ND filters (0.6/1.2/2.1)
• OLED eyepiece and fold-away LCD monitor
• Multi-channel audio – easy-access controls

AMIRA boots up quickly and can be used straight out of the bag by a single user, with no setting up, no rigging and no delays. Sliding dovetails allow the camera to be perfectly shoulder-balanced for comfortable handheld shooting, while the innovative multi-viewfinder combines a high resolution OLED eyepiece with a fold-away LCD monitor that provides both a live view and full access to camera functions.

COST-EFFICIENT IN-CAMERA GRADING

• Preloaded looks
• Adjustable looks – total color control on set
• High creativity, low postproduction costs
• Uniquely, AMIRA comes with a number of 3D LUT-based looks that can be applied while filming.

The pre-loaded LUT feature essentially amounts to in-camera grading; it allows cinematographers to craft a consistent, identifiable visual approach, even on small- scale productions that cannot afford to pay them to attend the grade. Documentaries, dramas and commercials often involve a number of contrasting looks for different narrative or thematic elements. With AMIRA these looks can be either ‘burned in’ to the recorded footage or used purely for monitor imaging. Either way, they give cinematographers and directors a greater degree of creative control on fast-moving productions, while keeping costs down for producers.