* * Specification * *Viewfinder* ** **Revolutionary Viewfinder (patent pending): ** **OLED eyepiece viewfinder (1280x1024) combined with a fold-away 3,2’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 most accurate focusing (quick-access button) ** **New Zebra and False color functions for exposure control (quick-access button) ** **Flexible and stable mounting bracket ** **Solid and extensionable viewfinder cable connection ** **Record button and configurable user buttons ** **Tally light included ** *Ergonomics and tools* ** **Acclaimed and proven 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 ** **Light weight, compact size ** **ENG style attachable microphone mount for on-camera microphones ** **Accessory fitting shoe for connecting a video light or other accessories ** **D-Tab, RS and Hirose 4-pin power out connectors CFast 2.0 cards for best high speed performance and lowest costs(price/GB),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 color 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 color-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 color-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 Proxy, LT, 422, 422HQ and 444 ** **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 444 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 128GB 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 100 K 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 1x 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 4-pin 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 ** **B4 mount (planned)incl. adapter to use existing 2/3” lenses with ENG electronic interface ** **EF mount (planned) for Canon EF mount lenses ** **PL mount (planned) with LDS connectors * Features * 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 colors 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. * Benefits * Fantastic Versatility through Dynamic Range With a dynamic range of more than 14 stops, incredibly low noise levels and subtle highlight handling, AMIRA offers superior image quality that will look fantastic in any distribution format or resolution. It is suitable for countless different kindsof production, but especially for documentary-style projects where handheld camerawork and single-operator usability are key factors. Reportage and unscripted programmes, 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 used. Single-user recording possible On set or on location, 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 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, 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. Sound Investment With Arri build quality as found with the highly regarded Alexa camera, the Amira is designed for the rigours of daily on-set and location use and has significantly better build quality than many of its competitors, and so represents a sound long term investment.Full Site Mobile Site
Posted on: Fri, 31 Jan 2014 01:56:37 +0000
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