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HOME : Cameras : Digital S35mm and Large Format : Arri Amira :
Arri Amira Standard Package
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Amira Features:

Same 35 mm sensor as ALEXA
HD 1080/2K; Log C/Rec 709
ProRes up to 4444 on CFast 2.0 cards
Dynamic range of 14+ stops
Natural colors and skin tones
Up to 200 fps full sensor area

AMIRA features the same sensor and exceptional image quality as the ARRI ALEXA, recording superior HD 1080 or 2K pictures that are suitable for any distribution format. With a dynamic range of more than 14 stops, low noise levels, subtle highlight handling, natural color rendering, breathtaking skin tones and speeds of up to 200 fps, AMIRA will deliver beautiful, life-like images in any situation.

Single use ergonomics:
Quick start-up ready to shoot
Optimized for the single operator
Sliding dovetails perfect shoulder balance
Internal ND filters (0.6/1.2/2.1)
OLED eyepiece and fold-away LCD monitor
Multi-channel audio easy-access controls

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.

Preloaded/custom-built 3D LUTs and looks
Adjustable looks total color control on set
High creativity, low postproduction costs

Cost efficent in-camera color 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.