Pairing streamlined, dependable multicamera setups and rich, natural Super35 imaging, the ARRI AMIRA Live Camera Set Advanced delivers an efficient, cinematic workflow for your live broadcast needs. Using the same ALEV III Super35 sensor as the rest of the AMIRA line, the AMIRA Live ticks off cine-style boxes like shallow depth of field, high dynamic range, the ARRI Look Library, and custom 3D LUT support. At the same time, its cable-free configuration with the separately available 1800 fiber back aligns the AMIRA with more typical broadcast-style cameras, eliminating the dreaded accidental disconnect with potential port damage and speeding your build time. Note that a lens mount, viewfinder, and base are not included and need to be ordered separately. Also, note that this set is only available in combination with the AMIRA Live 1800 Camera Chain Set.
Preinstalled Advanced, UHD 4K, and Look Library Licenses
Advanced License
The Advanced license bumps the basic AMIRA's 100 fps maximum frame rate up to 200 fps and adds 422 (HQ) and Log C capture, Wi-Fi and Ethernet remote control, and a pre-recording buffer function. It also adds the ability to import custom 3D LUTs, in-camera ASC CDL grading, dynamic, auto-tracking white balance, and Bluetooth audio monitoring. The buffer function captures a pre-recorded segment, enabling you to grab unpredictable wildlife, sports, and action shots.
UHD 4K License
This license adds UHD 4K and 3.2K recording at rates up to 60 fps, a de-noising option in UHD 4K, 1.3x anamorphic de-squeeze, and provides 6G-SDI output. Note that to use a 4K UHD license, your camera must be calibrated.
Look Library License
The ARRI Look Library provides a collection of predefined creative color gradings; it provides a repertoire of 87 high-quality looks in three intensities for the Rec 2020 and Rec 709 color spaces. The Look Library uses a numbering scheme to identify the different styles and groups them into themes like film emulations, historical periods, seasons, and more. Note that the ARRI Look Library requires AMIRA Premium and SUP 5 or later.
Bespoke Multicamera Design
All cables between the AMIRA Live camera and an 1820 fiber back have been internalized, resulting in a lower chance of accidental disconnection or port damage, speedier build times, and a neater look more in keeping with traditional broadcast cameras. Assistants and operators will find that this camera configuration is easier to work with and faster to set up.
Same S35 Sensor as ALEXA for Cinematic Look
The AMIRA Live uses the same ALEV III Super35 CMOS sensor as the ALEXA line, providing outstanding image quality, advanced color science, natural skin tones, and over 14 stops of dynamic range.
Up to UHD 4K60 ProRes Capture
Versatile recording options include 0.75 to 60 fps in 3.2K and UHD 4K, and 0.75 to 200 fps in 1080 for slow-motion, intervalometer, and stop-motion effects. Codec options include 422, 422 LT, and 422 HQ with MPEG-2 available at 23.98/25p and 50/59.94i.
Simultaneous Recording and Streaming
Record in-camera to CFast 2.0 cards while simultaneously transmitting live, cinema-quality HD, or UHD images to a broadcast facility, viewing monitor, or social media platform when the AMIRA Live is paired with the separately available fiber system.
Interchangeable Lens Mounts | Super16 Mode
- Separately available lens mounts include PL, LPL, EF, B4, and Leitz M options, providing compatibility with a wide array of both cine-style and broadcast lenses.
- The AMIRA's S16 HD recording mode enables a compact setup using lightweight Super16 lenses.
AMIRA Live Viewing
The separately available VMM-1 (Viewfinder Multicam Monitor) is a 10" onboard monitor that connects directly to the camera's VF interface or can be daisy-chained to a CCP-1 (Camera Control Panel). The VMM-1 incorporates contrast, color, backlight, and peaking controls, a front tally on/off switch, and two user-assignable buttons and comes with a quick-release yoke.
SUP 6.1 Firmware Update
- With SUP 6.1, ARRI introduces enhanced multicamera functions like an always-welcomed faster boot-up time, improved sharpness and noise reduction, user-button intercom talkback for easier shoulder-mounted communication, and a green tally viewfinder function.
- In a boon for shooters used to cine-style capture, SUP 6.1 also eliminates the need for a separate box for direct RCP iris control of cine-style lenses when using RF FIZ motors.