Arri AMIRA: First Impressions

arri amiraArri AMIRA: First Impressions

No doubt about it, the Arri AMIRA as well as the Arri ALEXA are the Rolls Royce of digital video cameras. Although the Arri AMIRA is limited to shooting in 2k or 1080p, it is not limited in terms of quality. Its increased color space shoots ProRes up to 4444 on CFast 2.0 cards using the same 35mm sensor as the ALEXA. As you can see in the above video, nothing is lacking. The main difference in Arri AMIRA as opposed to the ALEXA is that it is “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.”

The Arri AMIRA also features dynamic range of 14+ stops, low noise levels, subtle highlight handling, natural color rendering, and breathtaking skin tones. The following bullet points are from the Arri AMIRA website:

  • Single User Ergonomics: 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: Uniquely, AMIRA comes with a number of 3D LUT-based looks that can be applied while filming. Alternatively, productions can custom-build their own 3D LUTs in external color grading systems, load them into the camera during prep, and even modify them on set. This gives cinematographers and directors a greater degree of creative control on fast-moving productions, while keeping costs down for producers.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 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.

Take a look at what Claire Orpeza wrote for AbelCine to see what impressions were made upon DP Buddy Squires. I know you want one, but if you can’t afford it yet, my friends at AbelCine will rent you one.

–Stu Brown


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Buddy Squires First Impressions of the Arri AMIRA

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