AMIRA FAQ

A sensor mode defines an aspect ratio, which defines the area on the sensor that is being captured. A recording format define what is being recorded in-camera in the file. So while a sensor mode defines a certain number of photosites on the sensor, those may be recorded straight or up or down-sampled to create the pixels of the recording format. A distribution format defines how the final product is delivered to the consumer. The contents in the recording format is often up or down-sampled, cropped, repositioned or rotated in post before it becomes the final distribution format.

An example: Choosing a 16:9 sensor mode on the camera allows the further choice of various recording formats. Choosing the 4K UHD recording format means that a 16:9 area from the sensor is read out, up-sampled in camera to a 4K UHD image and then recorded. In this case the recording format of 4K UHD is the same as the distribution format of 4K UHD. 

Yes, all AMIRA models can be upgraded with the 4K UHD license. This requires a 4K UHD calibrated camera.

If you are not sure whether your camera is already calibrated for 4K UHD, there is a general rule: cameras manufactured in 2014 DO NOT include a 4K UHD calibration, whereas cameras produced from 2015 onwards typically DO. Please bear in mind, however, that the date of manufacture is different from the delivery date. If in doubt, you can check the calibration status of your camera at the ARRI License Shop. 

If your camera is not calibrated, there is a link in the ARRI AMIRA license shop to log a service request with an ARRI service center, for those whose camera was purchased direct from ARRI. If you purchased your camera from a dealer, please contact the dealer to proceed.

You can purchase the 4K UHD license at the ARRI License Shop at any time, whether your camera is calibrated or not. However, it will only be possible to activate 4K UHD recording once the calibration has been completed.

Yes, the permanent licenses can be deleted from the camera and later on be reinstaled from a USB stick. This is not possible for temporary licenses.

The following are the default looks of the camera:

• ARRI 709 - renders the video image according to the ITU.R-BT709 standard
• ALEXA Classic 709 - matches the color reproduction to the ARRI ALEXA
• ARRI 2100 HLG 1K 200 - renders an image for a HLG (Hybrid Log Gamma, ITU-R BT.2100) monitor
• ARRI 2100 PQ 1K 200 - renders an image for a PQ (SMPTE 2084, ITU-R BT.2100) monitor
• ARRI 709 Multicam - editable version of ARRI 709 for use with the multicam feature
• Commercial - renders the image brighter for smoother skin tones
• Landscape - applies a steeper contrast curve to the image
• LCC 709 - Low Contrast Curve look that keeps more details in highlights for color correction purposes
• TV neutral - an ARRI 709 like look, which is more saturated in colors with slightly lower blacks
• TV warm - same as TV neutral, just with a little bit warmer look overall
• Vibrant - boosts color saturation except for red and yellow (skint one protection)
• ARRI Look Library - collection of 87 looks

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Looks can be created with the ARRI Color Tool. This tool is available for free on our website.

Yes, looks can be saved to a USB stick and loaded into other AMIRA and ALEXA Mini cameras.

Live grading on set with the ARRI Look Management is supported by Pomfort LiveGrade, Codex Live, Colorfront On-Set Live, Filmlight Prelight, Technicolor DP Lights and others. 

Automated dailies creation with the ARRI Look Management is supported by DaVinci Resolve, Colorfront OSD, Codex Production Suite, Pomfort Silberstack, Filmlight Daylight and others. 

Editing with looks through the ARRI Look Management is supported by Avid Media Composer, Apple Final Cut Pro X and Adobe Premiere.

In all cases, check with the manufacturer to make sure you have the software version that supports the ARRI Look Management. 

ProRes 3.2K is a recording format that is quickly gaining popularity. It is being used on major TV series like Game of Thrones, on many Amazon projects and on various feature films. The reason is that it has a lower data rate than ProRes 4K UHD (in fact about 33% less data) and thus is less expensive to record on set and to process in post. It can then be used for an HD or 2K deliverable (with extra image area for re-sizing, rotating, re-framing or stabilizing) or, with only a slight up-sample, for a 4K UHD deliverable. 

Yes, other readers following the CFast standard work with the CFast 2.0 cards supported by the camera.

Yes, for a stable and clean signal, a 4.5 GHz cable is mandatory. You can use this cable (also sold by ARRI): "Belden Video Brilliance 1505F HD-SDI High Flex Precision Video Cable 4.5 GHz", or any other cable meeting the same specifications.

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 or the Canon CN7x17) 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 camera supports controlling the iris through the camera UI, the ARRI Master Grips and the ARRI OCU‑1 with the EF mount connected. There are several options to do so, please check the user manual for details.

Most EF lenses on the market are supported with the EF mount. However as there is a huge variety of manufacturers, lens types and levels of iris control integration for EF lenses, we cannot completely ensure that each and every lens will work correctly.

The PL to B4 adapter is used with the PL mount on the camera. It has a magnification of 2.8x, which results in 2.5+ stops reduced exposure. It offers a flexible solution, which also can be used on other PL mount cameras with S35 sensor size.
The B4 mount is in exchange with the PL or EF mount. It has a magnification of 2.5x, which results in 2.5+ stops reduced exposure. It offers the best possible optical quality, is more stable and a little shorter in length. Changing a mount on AMIRA can be done on set and within about 40 seconds.
Both solutions result in a 2/3’ camera like depth of field, and not the shallow depth of field of S35 cameras. All benefits of the superior AMIRA image quality remain though.

The input voltage tolerance for batteries or bat power input is ranging from 10,5 – 34 Volt.

• 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

USB memory sticks 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 the camera.  The USB interface also supports USB power.

The AMIRA camera is in the 4.1 kg range including the PL lens mount, and about 5.3 kg including viewfinder, battery mount and a camera base plate. 
Other 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 high level as 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 QR-HD1 19mm or 15mm Studio support will not work with Amira and WPA-1)

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.

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 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.

Shoulder belts using the same connectors as provided on Sony ENG cameras can be attached.

The noise reduction (under menu/system/sensor) is minimizing temporal redundancies in consecutive images. It is reducing the noise in a very organic way and perfectly preserves the character and texture of the image. There is also no impact on image sharpness. With the setting "strong" there might be motion artifacts become visible with heavy motion.

During manufacturing of the camera and after certain service procedures, the sensor of the camera will be calibrated. The calibration maps the sensor’s response to light for proper sensitivity, brightness and dynamic range for all color channels, red, green and blue. This is an absolute necessity in order to create a stable and reproducible image coming from a digital sensor.

Yes. Sensors are different from the human eye, and even in environments that are nominally safe for humans (like a laser show, for example), it is possible to damage the sensor with a laser beam. If and how the sensor is damaged depends on a number of factors, including the lens' focal length, lens iris setting, lens focus setting, the laser power, projected pattern and for how long the sensor is exposed to which part of the laser pattern.

Tungsten fixtures in the range of 1000 W and below can show pulsing light. Typically this is not visible with the human eye, and it is also hard to see in the viewfinder, but it can result in visible flickering effects on the recorded footage when shooting with high frame rates. Depending on shutter/exposure time, this may be true for frame rates above around 100fps. Tungsten fixtures of larger size do not show this effect, as the light pulsing is more sluggish here.