Pick up > shoot
AMIRA is a truly versatile camera that 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, AMIRA is hardy
enough to take anywhere and features in-camera grading with preloaded 3D LUTs, as well as 200 fps slow motion. It is suitable for a great
variety of production types, from TV drama and low-budget movies to nature films, sports coverage, commercials, reportage, branded content and
multi-camera live TV. Wherever you are headed and whatever you need to shoot, let AMIRA be your companion.
Nature films
TV series & indie movies
The perfect tool
for your job
image quality up to 200 fps
• Single-user ergonomics and perfect shoulder balance
• Cost-efficient in-camera grading
• Safe, future-proof investment
Music videos & concerts
Branded content
Multi-camera live TV
Sports coverage
Recording options up to 4K UHD
The best image quality across all formats
AMIRA utilizes the same sensor as ARRI’s ALEXA cameras and delivers the same
phenomenal image quality via a range of recording formats that suit different
production needs. Rec 709 or Log C images can be recorded using ProRes codecs at
resolutions up to 3.2K and frame rates up to 200 fps. With the 4K UHD option, AMIRA
can record ProRes codecs in 3840 x 2160 Ultra High Definition. At the other end of
the spectrum, AMIRA’s ability to record low-bandwidth, XDCAM-compatible MPEG-2
allows television productions to integrate it into typical broadcast environments
and workflows.
Since all of these formats are recorded to in-camera CFast 2.0 cards with super-quick
data rates, the route into postproduction is simplified and costs per GB are reduced,
making high-quality image pipelines available even to low-budget productions.
Beautiful skin tones and natural colors
No other digital camera is trusted so widely and profoundly in film
Whether you are recording in HD, 2K, 3.2K or 4K UHD, AMIRA will capture
and television industries worldwide as ALEXA, and since AMIRA shares
vibrant, life-like images in any situation, rendering natural, organic colors
the same build and image quality, it is an equally trustworthy tool.
and skin tones of breathtaking texture, beauty and accuracy.
14+ stop dynamic range and low noise
With a dynamic range of more than 14 stops, incredibly low noise levels and subtle
key factors. In unscripted and fast-moving situations, AMIRA’s dynamic range
highlight handling, AMIRA offers superior image quality that will look fantastic in
means camera operators don’t have to worry about losing highlight details in
any distribution format. It is suitable for countless different kinds of production, but
bright sunlight or shadow details in dim interiors.
especially for projects where handheld camerawork and single-operator usability are
Single-user ergonomics
Just pick up and shoot
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. In the time it takes to pick up the camera and lift it to an operator’s shoulder,
AMIRA will be ready to record, making it 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 color tools aid
exposure control, while an advanced peaking function makes accurate focusing easy and swift.
DP Heiko Knauer
Wenn der Vorhang fällt
© Yves Krier
© Daniel Delbeck/ BR
Perfect shoulder balance
User comfort and control are fundamental principles of the AMIRA concept.
operator’s center of balance, helping to make it comfortable for handheld work
Sliding dovetails allow the camera to be perfectly shoulder-balanced, whatever
over extended periods – a vital requirement for single-operator projects and ENG
combination of lens, microphone, accessories and battery happens to be
shoots. For situations requiring the smallest possible setup, AMIRA’s S16 HD
in use. A super-slim waistline means AMIRA can be tucked in close to the
recording mode allows the use of compact and lightweight Super 16 lenses.
Intuitive, easy-to-reach
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 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 camera operator. An integrated WiFi interface further expands
camera control options.
© Yves Krier
Cost-efficient in-camera grading
Total control on the set
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 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. This is a highly cost-efficient way of creating bespoke
looks, saving time and money by minimizing the amount of grading work required in post.
Unlimited flexibility with 3D LUTs
With 3D LUTs, literally any look that can be imagined can be created. They offer
adjustments. Through simple menus, parameters such as CDL (offset, slope,
unlimited flexibility in image or color processing, opening up a whole world
power, saturation), white balance, knee and black gamma can be tweaked,
of personalized emotional expression. Besides the 3D LUT-based looks, many
allowing a perfectly graded Rec 709 image to be recorded or outputted by
individual modifications of the image can be implemented on set, including
AMIRA. Remote live painting of these and other image parameters is possible
those familiar to 2/3” ENG-style camera operators, as well as classic cine-style
in Multicam mode.
Creative control on fast-moving productions
The preloaded LUT feature essentially amounts to in-camera grading; it allows
be created before the shoot and either ‘burned in’ to the recorded footage or
cinematographers to craft a consistent, identifiable visual approach, even on
used purely for monitor imaging. Either way, they give film and program makers
small-scale productions that cannot afford to pay them to attend the grade.
a greater degree of creative control on fast-moving productions. Alternatively,
Documentaries, dramas and commercials often involve a number of contrasting
Log C recording facilitates a standard postproduction grading workflow.
looks for different narrative or thematic elements. With AMIRA these looks can
Live TV with cinematic Multicam
Remote control of multiple AMIRAs across a network
Available for all AMIRA models, the Multicam mode is an extremely attractive option for multi-camera
shooting environments such as music concerts and live events, as well as TV soaps and other fast-paced
scripted productions. The great advantage of AMIRA Multicam is that it brings the cinematic look of
AMIRA images and the characteristically shallow depth of field of 35 mm into the world of live TV or EFP
(Electronic Field Production).
Suitable for any transmission system
Simple and flexible, the open Multicam interface can be used with virtually any transmission system
required, and the image parameters of multiple AMIRA cameras – including iris settings – controlled
remotely via an industry-standard Sony RCP (Remote Control Panel). Images can be recorded solely from
the live camera, or from all cameras as separate streams.
Parallel recording option
Simultaneous recording to a central server and the in-camera CFast 2.0 cards is also possible, allowing
both Rec 709 and Log C to be captured for greater flexibility in post.
© Daniel Delbeck/ BR
I’m a Singer / Hunan TV
Huge variety of lens options
Rapidly interchangeable lens mounts
AMIRA can be used with an extremely wide range of lenses, depending upon which lens mount and recording option is selected. The LDS PL mount
accommodates cine-style PL lenses, including those compatible with the ARRI Lens Data System, which allows lens metadata to be recorded
via the ARRI Electronic Control System. The B4 lens mount permits the use of 2/3” video-style B4 lenses, while the PL to B4 adapter allows instant
interchangeability between the two. Finally, the EF lens mount provides compatibility with widespread and affordable stills photography lenses.
Lens mounts can be exchanged in under one minute.
PL to B4 lens adapter
EF lens mount
LDS PL lens mount
B4 lens mount
© Florian Nick
© Yves Krier
DP Susan Gibson, © Chadden Hunter
Super 16 recording mode
The AMIRA S16 HD recording mode takes a Super 16-sized crop from the sensor and
vintage Super 16 prime lenses provides an opportunity to create looks that
scales it to a 16:9 HD picture in any ProRes codec. There are many different benefits
bring a sense of life and texture to the digital image in a totally organic way.
of this mode. Super 16 lenses are an economical option for productions, but they also
The S16 HD mode can also be used to effectively extend the focal length of
tend to be smaller and lighter than 35 mm optics; in particular, Super 16 zooms offer
35 mm lenses by a factor of 1.8, providing an almost instantaneous method
a better ratio of zoom range to size and weight than 35 mm can offer. Working with
of getting closer to a subject.
Safe, future-proof investment
Upgradeable hardware and software
In common with every product ARRI manufacturers across all of its business divisions, AMIRA
has been designed from the outset to be a safe, long-term investment and built to withstand
the day-to-day hardships of prolonged professional use. The modular construction allows for
hardware upgrades as new technology develops, while regular free-of-charge software update
packages add new features that respond to user feedback and meet evolving industry needs.
ARRI product quality –
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 and shoot anything, safe in the 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.
© Yves Krier
Technical data
Sensor type
Sensor pixel count
Recording pixel count
Lens mounts
Exposure index
Exposure latitude
Audio recording
Integrated motorized ND filters
Sound level
Outputs video
Outputs audio
Outputs power
Other interfaces
Recording media
Recording formats
Recording frame rates
Recording codecs (w/embedded audio &
Rec 709/Log C
Adjustable image parameters
Import of custom 3D LUTs
Focus and exposure control
White balance
WiFi and ethernet camera remote control
Audio monitoring
Pre-record function
Multicam interface
S16 lens mode
AMIRA Advanced
AMIRA Premium
35 mm format ARRI ALEV III CMOS (28.17 x 18.13 mm)
3200 x 1800 (4K UHD, 3.2K)*, 2880 x 1620 (HD), 2868 x 1612 (2K), for monitoring with surround area: 3168 x 1772 (HD), 3154 x 1764 (2K), 3414 x 2198 (4K UHD, 3.2K)*
1920 x 1080 ProRes HD and HD outputs, 2048 x 1152 ProRes 2K, 3200 x 1800 ProRes 3.2K*, 3840 x 2160 Pro Res 4K UHD and UHD outputs*
PL mount w/Hirose connector and LDS, B4 mount w/Hirose connector, EF mount, PL mount titan (ALEXA Mini)
Electronic shutter, 5.0° to 356.0°
EI 160 to EI 3,200 (EI 800 base sensitivity)
14+ stops over the entire sensitivity range from EI 160 to EI 3,200 as measured with the ARRI Dynamic Range Test Chart (DRTC-1)
4 channels, 24 bit PCM, 48 kHz
FSND 0.6, 1.2, 2.1
< 20 dB(A)
~ 4.1 kg/9.2 lbs (camera body with PL lens mount)
Length: 309 mm/12.1", width: 139 mm/5.4" , height: 149 mm/5.8" (camera body with PL lens mount)
-20° C to +50° C (-4° F to +122° F)
AMIRA Multi Viewfinder MVF-1 (OLED and LCD)
2x HD-SDI outputs: 1.5G, 3G and 6G; uncompressed HD/UHD video with embedded audio and metadata
3.5 mm headphone jack, Bluetooth audio
Hirose 12 pin (for ENG type zoom lenses); 12V: D-tab, Hirose 4 pin, Lemo 2 pin; 24 V: RS 3 pin Genlock, HD-SDI, timecode (in and output), all BNC
USB 2.0: For importing and storing AMIRA Look Files, user setup 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 Packages (SUPs); Ethernet LAN RJ-45 for camera remote control.
CFast 2.0 memory cards
HD 1920 x 1080 (interlaced & progressive)
HD 1920 x 1080 (interlaced & progressive)
HD 1920 x 1080 (interlaced & progressive)
3.2K ProRes 3200 x 1800*
3.2K ProRes 3200 x 1800*
2K 2048 x 1152,
4K UHD 3840 x 2160*
4K UHD 3840 x 2160*
3.2K ProRes 3200 x 1800*
4K UHD 3840 x 2160*
0.75 - 100 fps (progressive) HD, 2K
0.75 - 200 fps (progressive) HD, 2K
0.75 - 200 fps (progressive) HD, 2K
0.75 - 60 fps 4K UHD & 3.2K*
0.75 - 60 fps 4K UHD & 3.2K*
0.75 - 60 fps 4K UHD & 3.2K*
MPEG-2: 23.98p, 25p, 29.97p, 50i, 59.94i
MPEG-2: 23.98p, 25p, 29.97p, 50i, 59.94i
0.75 - 120 fps HD, 2K in ProRes 4444 XQ
0.75 - 30 fps 4K UHD & 3.2K* in ProRes 4444 XQ
MPEG-2: 23.98p, 25p, 29.97p, 50i, 59.94i
ProRes 422, 422 LT, MPEG-2
ProRes 422 HQ, 422, 422 LT, MPEG-2
ProRes 4444 XQ, ProRes 4444, 422 HQ, 422, 422 LT,
Rec 709
Rec 709 & Log C
Rec 709 & Log C
3 fixed looks (adjustable in camera)
Complete look functions; import looks
Complete look functions; import looks
Knee, gamma, saturation, black gamma, saturation
Knee, gamma, saturation, black gamma, saturation by hue Knee, gamma, saturation, black gamma, saturation
by hue
ASC CDL parameter (slope, offset, power, saturation)
by hue
ASC CDL parameter (slope, offset, power, saturation)
Import of custom 3D LUTs
Peaking, zebra, false color
Peaking, zebra, false color
Peaking, zebra, false color
Auto WB
Auto WB, dynamic auto tracking WB
Auto WB, dynamic auto tracking WB
WiFi and ethernet camera remote control
WiFi and ethernet camera remote control
Headphone output (mini jack)
Headphone output (mini jack), Bluetooth audio monitoring Headphone output (mini jack), Bluetooth audio
Pre-record function
Pre-record function
Multicam interface
Multicam interface
Multicam interface
S16 lens mode
S16 lens mode
S16 lens mode
* Requires installed 4K UHD License
This AMIRA brochure (80.0012379) is published by Arnold & Richter Cine Technik, August 01, 2016 © ARRI/2016
Technical data and offerings are subject to change without notice. All rights reserved. Without any warranty. Not binding 08/2016. ARRI is a registered trademark of Arnold & Richter Cine Technik GmbH & Co. Betriebs KG.
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