Arri AMIRA Hire Shooting Kit in SW London – with Remote Focus and Monitoring
- Arri Amira including: Arri WCU-4 3 axis lens control system, Teradek Bolt Pro 2000 dual receiver kit, Sony 17″ Tri-master Director’s monitor, TV-Logic 058w focus puller’s monitor, hand grip right set, shotgun mic mount, Sony VCT-14 plate, 480GB C.Fast 2.0 media and card reader, V-lok battery adaptor, PL-LDS lens mount
- Zeiss Super Speed T1.3 set – 18mm, 25mm, 35mm, 50mm, 85mm
- Amira rain cover
- Bright Tangerine VIV matte box (including filters: Tiffen 1/4 black pro-mist, Tiffen 0.6 ND Grad S/E, Schneider True Polarizer)
- Arri FF-4 follow focus
- OConnor 1030D head and 30L legs
- Atomos Samurai Blade monitor/recorder
- 6 x 100w/h V-lok batteries and 4×4 charger
- Rode NTG2 shotgun mic
- Sennheiser EW-100 radio mic kit
If you are looking for the perfect Pick Up > Shoot tool, the Arri AMIRA is the camera for the job. At Manned Camera our Arri AMIRA Hire camera comes with the premium licence set (see “Licence” above), and everything you need for a complete shooting kit.
Our Amira shooting kit is one of the most comprehensive you will find, and includes everything you need including remote lens control and remote monitoring for focus puller and director.
Manned Camera are proud to be one of the first to offer Arri AMIRA Hire Shooting Kits
We can offer the camera with or without an operator. If you are looking for Arri AMIRA Hire with an operator, get in touch to discuss your project as we may be able to offer significant discounts on the daily rate.
We are always interested in collaborating on interesting projects to increase our experience and improve our showreel, so call Kieron to discuss preferential rental rates if you need a camera operator, DOP or editor (or assistant to yours)!
Arri Imaging Technology
AMIRA produces exceptional images that have the organic look and feel of film, delivering incredible production value at an affordable cost.
The cameras custom developed CMOS Bayer sensor is the same size as a 35mm film frame. This allows cinematographers to manipulate the formats inherent shallow depth of field and to use the same unparalleled range of PL mount lenses available for 35 mm film cameras. ARRI Imaging Technology (AIT) ensures the most film-like, organic image quality of any digital camera with natural color rendition and pleasing skin tones, while the sensors 3.5K pixel count delivers an optimum in image sharpness, sensitivity and latitude for HD and 2K DI workflows.
AMIRAs imaging system has been carefully designed to exhibit unrivalled sensitivity, latitude, sharpness and colorimetry so filmmakers can create the kind of rich and spellbinding pictures that audiences asso-ciate with cinematic storytelling. The cameras sensitivity can be adjusted from 160 to 3200 EI. Its unequalled base sensitivity of 800 EI and unparalleled exposure latitude of over 14 stops means greater flexibility and efficiency for the cinematographer on the set. Overly bright windows will not need to be covered with gels, and shooting at night is possible – even with only a few lights. Working with lower light levels opens up new visual possibilities for fresh and unusual images. The sensors unique design en-sures AMIRAs wide exposure latitude and low noise at all sensitivity settings from 200 to 800 EI without any compromises in image quality.
These advantages also extend to post-production, where it is easier and faster to get the most out of the captured images. AMIRAs artifact-free images show an enormous amount of information in highlight and shadow areas, while at the same time exhibiting a very low noise level. This translates into more creative choice during post-production, as well as the ability to fix images faster and to a greater extent than previously possible. AMIRAs super clean color separation is particularly important for green screen and other VFX work.
The low pass filter pack is situated in front of the sensor and contains an optical low pass filter, an infrared (IR) cut-off filter and an ultraviolet (UV) cut-off filter. The low pass filter blocks high image frequencies that would lead to artifacts when captured by the sensor. It is made from a modern, high performance crystal with optical properties that have been fine-tuned for a perfect match between the transmitted image content, the sensors pixel structure and the down-sampling algorithm in the camera. The result is the creation of super sharp yet natural HD and 2K DI images. The IR and UV cut-off filters let only those light frequencies reach the sensor which can be converted into a meaningful image. As with the D-21, the IR filter is specifically designed for the spectral response of the cameras sensor, so no additional IR filter
in front of the lens is required.
Although the science behind the breakthrough performance of AMIRAs custom designed CMOS sensor is complex, the use of large pixels and a Dual Gain Architecture (DGA) are its two main principles.
By employing unusually large pixels (in todays world of tiny cell phone sensors), AMIRAs sensor exhibits high sensitivity,
wide exposure latitude and low crosstalk. The larger a pixel is, the more light it can capture and the lower the noise.
DGA simultaneously provides two separate read-out paths from each pixel with different amplification. The first path contains the regular, highly amplified signal. The second path contains a signal with lower amplification, to capture the information that is clipped in the first path. Both paths feed into the cameras A/D converters, delivering a 14 bit image for each path. These ima-ges are then combined into a single 16 bit high dynamic range image. This method enhances low light performance and pre-vents the highlights from being clipped, thereby significantly extending the dynamic range of the image.
AMIRAs sensor design provides 32 pairs of outputs. Each channel is divided into a high amplification (gain) path (H) and a low gain path (L), resulting in 64 channels arriving at the 14 bit A/D converters.
In the final images, the shadow areas are re-constructed from the high gain path and the highlights are reconstructed from the low gain path for an image containing meaningful luminance information in all 16 bits.
AMIRA is equipped with a revolutionary multi-viewfinder that makes life incredibly easy for single-operator users, combining a high resolution OLED eyepiece with a fold-away LCD monitor. Together, these two viewing options allow precision operating and instant access to important camera controls through optimized ergonomics, minimizing delays on set. New peaking functions, with zebra and false color tools, facilitate accurate focusing via easy-access buttons.
OLED Eyepiece Viewfinder
The bright, high resolution eyepiece offers the best possible color rendition and optical performance, making for a comfortable operating experience. Mounted to a strong, lightweight sliding bar, its position can be altered to suit any shooter in any situation, moving forward and back, as well as side to side. Vital camera information can be displayed in the viewfinder, according to the needs of the individual.
Fold-Away LCD Display Monitor
The unique, fold-away 3.2″ monitor serves a number of purposes, displaying a live image for the camera operator when this is more convenient than using the eyepiece, or acting as a monitor for the director or other crew members while shooting. It also allows playback of recorded images and serves as the main camera interface, providing full access to camera functions and menus. Its ergonomic design means that the display information and configurable user buttons can be used without AMIRA having to be removed from the operator’s shoulder. With superb daylight visibility and an up-and-down tilt function, the monitor is useable under any shooting conditions.
Almost a century of experience, an obsessive attention to detail and an intimate familiarity with the conditions on set have led to generations of ARRI cameras that are robust, reliable and simple tooperate – all features that ALEXA has inherited.
Robust and Reliable – Production is tough and cameras have to function anywhere on, below or above the earth in all climatic conditions, day after day, shot after shot. To an ARRI engineer, reliability is a mission-critical, must-have quality that is a constant con-sideration during camera development. Some of the most obvious development choices in this regard are the rugged and lightweight unibody design, the cameras cooling system and the new, super stable lens/sensor mount.
AMIRA Frameline Composer
The AMIRA Frameline Composer (AFLC-2) enables creating custom markings based on your specific requirements for the sensore mode 16:9. It also offers a number of predefined frame lines for your convenience. Please note that many of them already are available in every AMIRA.
AMIRA frame lines are generated as XML files. You may optionally save the frame line as a .png image for archival purposes or to generate a frame leader in HD resolution. To upload a frame line to the camera: place the XML file on the camera USB stick in the folder //ARRI/AMIRA/FRAMELINES, connect the USB stick to the camera, navigate to MENU>Monitoring>Frame lines>Frame line>ADD>USB, select the frame line and press the cogwheel.
AMIRA Color Tool/Camera Simulator
ARRI provides the AMIRA Color Tool as a free software that allows you to modify looks from the AMIRA camera or conveniently create completely new looks for the AMIRA camera.
The AMIRA Color Tool can playback native Log C ProRes clips from the camera and apply different looks. To be able to use the AMIRA looks in other post processing tools, the AMIRA Color Tool provides the option to export looks as a 3D LUT.
Creating a complex look with the color wheels and sliders of the AMIRA Color Tool is much faster and more convenient than creating the same look directly the camera.
The AMIRA Color Tool is available as application for OS X 10.7 and for OS X 10.8/10.9. This first version is a beta version.
AMIRA Camera Simulator
The AMIRA Camera Simulator is an interactive learning tool to familiarize yourself with the menu navigation of the new AMIRA Digital Camera. The main user interface on the viewfinder shows a simulation of the real AMIRA camera in its first software version. We demo all buttons of the view finder, the ND switch as well as the most controls and switches of the left side of the camera in a clearly arranged way. In a later version we will also add the audio panel.
AMIRA Sample Footage
ARRI provides sample footage, shot on an AMIRA camera with a release version of SUP 1.0.
The shots are intended for anyone who wants to test the workflow with AMIRA ProRes files. For example, to test LUTs for converting from LogC to Rec709, AMIRA Look files or to check how each of the different formats is best handled in different editing systems.
Please note that this sample footage was created for workflow evaluation purposes.
About the Footage
All clips were captured with an ARRI AMIRA camera. We’ve shot two different ProRes flavors: ProRes 422 – “Video Workflow” and ProRes 4444 – “Postproduction Workflow” in two resolutions: HD and 2K.
Each resolution is available in every project speed (i.e. timecode base set to 23.967p, 24p, 25p, 29.97p, 30p, 48p, 50p, 59.94p, 60p, 50i, 59.94i and 60i).
Project speed 29.97p is available as non-drop frame as well as drop frame timecode clip-set.
The clips have been recorded either in the Log C Wide Gamut color space or by using the built-in Rec 709 Look file for conversion to HD video color space. You can get hold of the full set of metadata by extracting it from the corresponding file’s header.
We used a Fujinon Cabrio 19-90 Zoom for all “sets of six clips” and an ARRI/Fujinon Alura 30-80 Lightweight Zoom for the high speed clips.
How to get the Sample Footage
The AMIRA Sample Footage is available for download via Arri’s FTP server
- Server: ftp-footage.arri.de
- User: AMIRA
- Password: samplefootage
Common questions about the AMIRA
No cards other than CFast 2.0 cards are compatible with AMIRA.
At the time being, no other CFast 2.0 cards are tested or qualified to be compatible with AMIRA.
Will CFast readers other than the CFast 2.0 reader from ARRI, work with the CFast 2.0 cards from AMIRA?
Yes, other readers following the CFast standard should work with CFast 2.0 cards from AMIRA. However the transfer times will be slower with models not supporting the CFast 2.0 standard.
AMIRA Looks can be created with ARRI Color Tool. This tool is available for free on Arri’s website.
Yes, Looks can be modified within the AMIRA camera. All CDL and video parameters can be adjusted.
Yes, Looks can be saved on a USB stick and loaded into other AMIRA cameras.
Can the Advanced or Premium license be disabled or removed from the camera and later on be re-activated or reloaded?
Yes, the permanent AMIRA licenses can be deleted from the camera and later on be reloaded from a USB stick. This is not possible for temporary licenses.
- D-tab 12V (on both Gold-mount and V-Lock battery adapters)
- Hirose 4pin 12V
- Lemo 2pin 12V
- RS 24V
- Hirose 12pin interface for ENG lenses incl. the Fujinon Cabrio zooms
Both the AMIRA “PL Mount” and the “B4 Mount” do include a 12-pin Hirose connector. When using a ENG style lens with PL mount (like the Fujinon Cabrio lenses) the cable is used to connect the lens with the camera body to provide power for the lens motors and to support certain functions on the handgrip of the lens. Power is also provided by the LDS contacts when using “PL LDS Mount”.
When using a B4-mount lens either with the “PL to B4 Adapter” or the “B4 Mount”, the cable is needed to connect the lens for power and certain handgrip functions.
The input voltage tolerance for batteries or bat power input is ranging from 10.5 – 34 Volt.
Each AMIRA comes with a USB stick, which can be used for data files import and export. This can be Look files, user setup files, frame grabs, licenses, manual, software updates and more. Please note that USB sticks cannot be formatted within the camera but need to be FAT 32 formatted on a computer device to be used with AMIRA.
The WPA-1 is dedicated to use on Quicklock support systems like the new QRP-1 but also on previous models like the “Quick Release HD baseplate” or also other solutions like the Sony VCT-U14 and similar.
The BPA-3 opens the world to the standard camera mounting plates like the BP-8 or BP-9. It includes the appropriate connectors and provides the correct measurements for 19mm (or 15mm Studio) rods.
The UAP-2 is perfect for mounting on Steadicam or for a more cine-style operation. It can be mounted on top side of the camera as well as bottom side in the same way including the sliding mechanism. On top side, the “UAP-2 Set” provides all needed to mount the viewfinder with the VAP-1 to the 15mm top rods. When using UAP-2 at the bottom you could attach a touch and go plate 35 or 16mm so you could put the AMIRA directly on a fluid head.
The plate offers a variety of 3/82 and 1/4″ threads for accessories. The CCH-1 is the handle from the Alexa. A 15mm LWS is build in the UAP-2. The 15mm LWS can be used from the top or the bottom.
Shoulder belts using the same connectors as provided on Sony ENG cameras can be attached.
The viewfinder adapter VFA-2 is for using the viewfinder independent to the standard mount, by using the VFA-2 together with a Noga arm or a similar device. It provides one 3/8″ and one 1/4″ interface thread.
The serial AMIRA camera model is expected to be in the 4.2 kg range including the PL lens mount, and about 5.x kg when ready to shoot with viewfinder, battery mount and camera adapter.
Competitive cameras may start with lower body weight, but in order to reach acceptable ergonomics, appropriate accessories are needed with additional weight in the range of 1-2 kg. This will raise the total weight remarkably, but nevertheless will not bring the ergonomics to the same level as AMIRA.