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The NEW documentary-style camera
ARRI proudly presents AMIRA, a versatile documentary-style camera that combines exceptional image quality and affordable CFast 2.0 workflows with an ergonomic design optimized for single operatoruse and extended shoulder-mounted operation. Ready to pick up and shoot straight out ofthe camera bag, AMIRA is hardy enough to take anywhere and features in-camera grading with pre-loaded 3D LUTs, as well as 200 fps slow motion.

Continuing the ARRI tradition
Throughout its long history ARRI has offered film and program makers a range of diverse cameras suitedto different production tasks. Whether it was the handheld ARRIFLEX 35 simplifying location shooting inthe 1930s, the compact 16 ST revolutionizing television in the 1950s, or the self-blimped 35 BL and 16 SR changing the visual landscape of the 1970s, ARRI’s camera line-up has always comprised varied models for multiple uses and budgets. Common to them all, however, has been the promise of creative liberation through functional, user-friendly design.

AMIRA represents a seamless continuation of this tradition. It will sit alongside other camera offerings from ARRI and fill its own particular niche, perfectly answering the needs of certain types of camera professional and certain types of production.

ALEXA image quality up to 200 fps
AMIRA features the same sensor and exceptional image quality as the ARRI ALEXA, recording superior HD 1080 or 2K pictures that are suitable for any distribution format. With a dynamic range of more than 14 stops, low noise levels, subtle highlight handling, natural colour rendering, breathtaking skin tones and speeds of up to 200 fps, AMIRA will deliver beautiful, life-like images in any situation.

AMIRA records Rec 709 or Log C images using ProRes LT, 422, 422HQ or 444 codecs. By recording to in-camera CFast 2.0 flash memory cards with super-quick data rates, the route into postproduction is made as simple as possible. CFast 2.0 is an open format, easily accessible to anyone and delivering a fantastic price-performance ratio through incredible transfer speeds, long recording times and compatibility with standard IT tools. Costs per GB are brought right down and higher-than-broadcast-quality image pipelines are made available even to low budget productions.

Single-user ergonomics and perfect shoulder balanceAMIRA 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. In the time it takes to lift the camera to an operator’s shoulder, it will be ready to record, making AMIRA perfect for ‘run-and-gun’ shoots where the action is unpredictable and the camerawork responsive. Integrated, motorized ND filters as well as zebra and false colour tools aid exposure control, while an advanced peaking function makes accurate focusing easy and swift.

Access to switches and configurable user buttons is quick and intuitive. An innovative multi-viewfinder makes life even easier for the single user by combining a high resolution OLED eyepiece with a fold-away LCD monitor that displays a live image when the eyepiece is not in use and also provides full access to camera functions, without AMIRA having to be removed from the operator’s shoulder. Flexible multi-channel audio options are accessed from the camera right side, again minimizing disturbance to the operator.

Cost-efficient in-camera grading
In today’s environment of cut budgets and shortened schedules, many television productions do not have the luxury of spending time finessing a look in postproduction. AMIRA is unique in that it comes with a number of preloaded 3D LUT-based looks that can be applied on set during the shoot. Alternatively, productions can custom-build their own 3D LUTs in external grading systems, load them into the camera during prep, and even modify them in-camera while filming. With 3D LUTs, literally any look that can be imagined can be created, giving cinematographers and directors a greater degree of creative control on fast-moving productions, while keeping postproduction costs down for producers.

ARRI product quality – rugged and reliable
Like all ARRI products, AMIRA is designed to be a safe, long–term investment and built to withstand the rigors of life on a professional set. With a solid internal skeleton that guarantees camera and lens stability, AMIRA is a highly durable product constructed of the strongest possible materials. Sealed electronics provide top-level protection against humidity and dust, while an integrated thermal core results in highly efficient cooling. Productions can take AMIRA anywhere, from jungles and deserts to snow-capped mountain tops, sure in the knowledge that it will not let them down.

ALEXA image quality up to 200 fps
AMIRA utilizes the same sensor as ARRI’s ubiquitous ALEXA cameras and boasts the same phenomenal image quality, recording in either HD 1080 or 2K. No other digital camera is trusted so widely and profoundly in the film and television industry as ALEXA, and now that same trust can be extended to AMIRA. With a dynamic range of more than 14 stops, incredibly low noise levels, subtle highlight handling, natural colour rendering and breathtaking skin tones, AMIRA will deliver beautiful, life-like images in any situation. Not only that, but camera speeds of up to 200 fps allow slow motion

Higher production value at a lower cost
With superior image quality that will look fantastic in any distribution format or resolution, AMIRA is suitable for countless different kinds of production. It is particularly well suited to productions for which handheld camera work and single operator usability are key factors, so will prove invaluable for documentaries or documentary style projects. Reportage and unscripted programming, promotional and corporate films, commercials, in-house productions and low-budget movies or dramas will also find AMIRA to be a compelling and value-adding option. Different lens mount options permit a vast range of current or vintage lens types to be utilised.

Just pick up and shoot
On set or on location, AMIRA boots up quickly and can beused straight out of the bag by a single user, with no setting up, no rigging and no delays. In the time it takes to lift the camera to an operator’s shoulder, it will be ready to record, making AMIRA perfect for ‘run-and-gun’ shoots where the action is unpredictable and the camera work responsive. Integrated, motorised ND filters as well as zebra and false colour tools aid exposure control, while an advanced peaking function makes accurate focusing easy and swift.

Pre-loaded 3D LUT-based looks
In today’s environment of cut budgets and shortened schedules, many television productions do not have the luxury of spending significant time finessing a ‘look’ in post production. AMIRA is unique in that it comes with a number of 3D LUT-based looks that can be applied on set during the shoot. Alternatively, productions can custom build their own 3D LUTs in external grading systems, load them into the camera during prep, and even modify them in-camera while filming. With 3D LUTs, literally any look that can be imagined can be created. They offer unlimited flexibility in image or colour processing, opening up a whole world of personalised emotional expression.

Creative in-camera grading
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 commercialsoften involve a number of contrasting looks for different narrative or thematic elements. With AMIRA these looks can be created before the shoot and 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.

Total control on the set
Many individual modifications of the image can be implemented on set, including those familiar to 2/3”ENG-style camera operators, as well as classic cine-style adjustments. Through simple, intuitive menus, parameters such as CDL (offset; slope; power; saturation), white balance, knee and black gamma can be tweaked, allowing a perfectly graded Rec 709 image to be recorded or outputted by AMIRA. The uncluttered interface permits such adjustments to be made for each setup if required, without wasting any time. Alternatively, Log C recording facilitates a standard grading workflow.

Beautiful skin tones and natural colours
AMIRA utilises the same sensor as ARRI’s ubiquitous ALEXA camerasand boasts the same phenomenal image quality, recording in eitherHD 1080 or 2K. No other digital camera is trusted so widely and profoundlyin the film and television industry as ALEXA, and now that same trust can be extended to AMIRA. Rendering natural, organic colours and skin tones of breathtaking texture and beauty, AMIRA will capture vibrant, life-like images in any situation.

Affordable CFast 2.0 workflows
AMIRA records Rec 709 or Log C images using ProRes LT,422, 422HQ or 444 codecs. Besides progressive recording, the camera also offers various interlaced formats. Building on the SHOOT > EDIT workflows established by ALEXA and warmly received by the industry, AMIRA makes it even easier and cheaper to transfer high quality pictures straight into editing programs. By recording to in-camera CFast 2.0 flash memory cards with super-quick data rates, the route into post-production is made as simple as possible. CFast 2.0 is an open format, easily accessible to anyone and delivering a fantastic price-performance ratio through incredible transfer speeds, long recording times and compatibility with standard professional and consumer IT tools. Costs per GB are brought right down and higher-than-broadcast-quality image pipelines are made available even to low budget productions.

Ergonomic body design
User comfort and control are fundamental principles of the AMIRA concept. Sliding dove tails allow the camera to be perfectly shoulder-balanced, whatever combination of lens, microphone, accessories and battery happens to be in use. A super-slim waistline means AMIRA can be tucked in close to the operator’s centre of balance, helping to make it comfortable for handheld work over extended periods – a vital requirement for single-operator projects and ENG shoots.

Intuitive, single-user controls
Access to switches and configurable user buttons is quick and intuitive, with the most frequently adjusted settings and functions being the fastest to locate. An innovative multi-viewfinder makes life easier still for the single operator by combining a 1280x1024 high resolution OLED eyepiece with a fold-away LCD monitor. The monitor displays a live image when the eyepiece is not in use and also provides full access to camera functions, without AMIRA having to be removed from the operator’s shoulder. Also has an integrated WiFi interface to further expand camera control options.

ARRI build quality
Like all ARRI products, AMIRA is designed to be a safe, long–term investment and built to withstand the rigours of life on a professional set. One of the reasons why ALEXA has been accepted so widely all over the world is that its build quality is significantly higher than competitor cameras, and the same is true of AMIRA.

Rugged and reliable
With a solid internal skeleton that guarantees camera and lens stability, AMIRA is a highly durable product constructed of the strongest possible materials. Sealed and capsulated electronics provide top level protection against humidity and dust, while an integrated thermal core results in an exceptionally efficient cooling system. All of this means that productions can take AMIRA anywhere, from jungles and deserts to snow-capped mountain tops, in the sure knowledge that it will not let them down. Whether on a Hollywood sound stage or a remote documentary location, technical delays cost money– money that could be saved by working with AMIRA.

Multi-channel audio
AMIRA is equipped with flexible audio options that are suitable for any type of production. Again, access to controls and connections is easy, causing minimal disturbance to the camera operator. The camera allows 4-channel, 48 kHz, 24-bit PCM recording with microphone, microphone + phantom power, line level and AES3 digital inputs, all of which can be routed to any recording channel.

Audio levels can be balanced manually, with a limiter, or in automatic mode, and low/high pass filters permit recording quality to be optimised in special environments. Audio functions have their own control/display panel, and through Bluetooth functionality recordings can be monitored or even annotated on a separate track.

Product AMIRA
Sensor Type 35mm format ARRI ALEV III CMOS (28.17x18.13)
Sensor Pixel Count 3200x1800 (4K UHD, 3.2K) 2880 x 1620 (HD), 2868 x 1612 (2K), for monitoring with surround area: 3168 x 1772 (HD), 3154x1764 (2K), 3414 x 2198 (4K UHD, 3.2K)
Recording Pixel Count 1920x1080 ProRes HD and HD outputs, 2048 x 1152 ProRes 2K, 3200x1800 ProRes 3.2K, 3840 x 2160 Pro Res 4K UHD and UHD outputs*
Lens Mounts PL mount w/ Hirose connector and LDS, B4 mount w/ Hirose connector, EF mount, PL mount titan (ALEXA Mini)
Shutter Electronic shutter, 5.0 to 356.0
Exposure Index EI 160 to EI 3200 (EI 800 base sensitivity)
Exposure Latitude 14+ stops over the entire sensitivity range from EI 160 to EI 3200 as measured with the ARRI Dynamic Range Test Chart (DRTC-1)
Audio Recording 4 channels, 24 bit PCM, 48 kHz
Integrated motorized ND Filters FSND 0.6, 1.2, 2.1
Sound Level < 20 dB(A)
Weight ~ 4.1 kg/9.2 lbs (camera body with PL Lens mount)
Dimensions Length: 309mm/12.1", width: 139 mm/5.4" , height: 149mm/5.8" (camera body with PL lens mount)
Environmental -20 C to +50 C (-4 F to +122 F)
Viewfinder AMIRA Multi Viewfinder MVF-1 (OLED and LCD)
Outputs Video 2x HD-SDI outputs: 1.5G, 3G and 6G; uncompressed HD/UHD video with embedded audio and metadata***
Outputs Audio 3,5mm headphone jack, Bluetooth audio
Outputs Power Hirose 12pin (for ENG type zoom lenses); 12V: D-tab, Hirose 4pin, Lemo 2pin; 24V: RS 3pin
Inputs Genlock, HD-SDI**, Timecode (In and Output), all BNC
Other Interfaces USB 2.0: For importing and storing AMIRA Look Files, user set up files, frame line files and feature license keys. Stores captured still image formats in DPX (.dpx, 10 bit) or JPEG (.jpg, 8 bit) format. Stores log files. Also used for installing Software Update Packets (SUPs.; Ethernet LAN RJ-45 for camera remote control.
Recording Media CFast 2.0 memory cards
Recording Formats HD 1920x1080 (interlaced & progressive)
3.2K ProRes 3200x1800*
4K UHD 3840x2160*
Recording Framerates 0,75 - 100 Fps (progressive) HD, 2K
0,75 - 60 Fps 4K UHD & 3.2K*
MPEG-2: 23.98p, 25p, 29.97p, 50i, 59.94i
Recording Codecs (w/ embedded audio & metadata) ProRes
422
422 LT
MPEG-2
Rec709/LogC Rec709
Looks 3 fix Looks (in camera adjustable)
Adjustable image parameters Knee, Gamma, Saturation, Black Gamma, Saturation by Hue
Import of custom 3D LUTs -
Focus and exposure control Peaking, Zebra, False colour
Whitebalance Auto WB
Wifi and Ethernet Camera Remote Control -
Audio monitoring Headphone output (mini jack)
Pre Record function -
Intervalometer Intervalometer
Multicam interface Multicam interface
S16 lens mode S16 lens mode

* Requires installed 4K UHD license
** not available in 4K UHD mode
*** embedded audio only in 1,5G and 3G