The Arri Amira was created to meet the growing demand for a smaller, cheaper and lighter version of the Arri Alexa. To achieve this, it combines Alexa image quality of up to 200 fps, with the rugged reliability Arri has become known for.
Its single user ergonomics and extended shoulder mount give it perfect shoulder balance. You can use this camera straight out of the bag with no set up or rigging, which means there’s no delay to shooting. As a versatile documentary-style camera, it lends itself to on-the-hoof shoots where action is unpredictable and you need to be quick to respond to any situation. The thoughtful camera design means you can locate the most used settings and functions without the removing the Amira from your shoulder. In addition to this, the innovative multi-viewfinder combines a high-res OLED eyepiece with a fold-away LCD monitor.
The solid internal skeleton and sealed, capsulated electronics offer great protection against the elements. The integrated thermal core means the Amira has an exceptional cooling system making it perfect to shoot in any environment; from blistering deserts to sub-zero temperatures. The versatility of this camera also makes it suitable for a whole range of productions from TV drama and low-budget movies to documentaries and corporate films.
You’ll find workflow on the Amira quick and easy as footage is stored on a CFast 2.0 flash memory card, which you can plug straight into a computer and access files instantly. CFast 2.0 is an open format that delivers incredibly fast transfer speeds, long recording times and is compatible with standard IT tools.
For productions that don’t have the luxury of spending lots of time and budget finessing a look in postproduction, the Amira offers a number of preloaded 3D LUTs for in-camera grading. Alternatively, you can custom-build your own 3D LUTs and load them into the camera during prep, even being able to modify them in-camera while filming. This is a highly cost-effective and time-efficient way of creating bespoke looks, minimizing the amount of time-consuming grading work needed in postproduction.