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ARRI AMIRA Pocket Guide

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ARRI AMIRA Pocket Guide Pocket Guide AMIRA Pocket Guide Table of Contents Overview 4 On Set 34 In Postproduction 66 Table of Contents of Table Screens 6 Exposure Index 34 AMIRA’s Ecosystem 66 Contents of Table Finding your way around the camera 8 Exposure and focus check options 36 Lens mounts 68 New features in SUP 1.1 10 Integrated ND filters 40 Lenses for AMIRA 70 Working with AMIRA 12 User Buttons 43 Accessories 80 Software Versions and USB Flash Drive 44 Specifications and Reference 84 Hardware Configuration 12 AMIRA Look Management 46 Resources and Contacts 92 AMIRA – ALEXA, the key differences 14 The different ways to change ARRI Sales 92 ProRes Recording 16 the look of your images 47 ARRI Service 94 Project rate and timecode base 18 AMIRA Look File 54 ARRI Digital Workflow Solutions 96 Color spaces 24 Overview on the available parameters 56 Online Resources 97 Recording media and card reader 30 AMIRA Look File in use 62 AMIRA Camera Simulator 32 AMIRA Color Tool 64 2 3 Overview Overview The AMIRA Camera – An Overview Overview ARRI’s ALEXA Pocket Guide became a very popular AMIRA is a versatile documentary-style camera that tool on set, so we decided to accompany AMIRA combines exceptional image quality and affordable with a Pocket Guide in the same way. This guide CFast 2.0 workflows with an ergonomic design contains preproduction and production information optimized for single-operator use and extended for an AMIRA shoot. shoulder-mounted operation. Ready to pick up and shoot straight out of the camera bag, AMIRA Quick information on: is hardy enough to take anywhere and features • What is new with the AMIRA? in-camera grading, pre-loaded 3D LUTs and 200 fps • What is different from an ALEXA setup? slow motion. • How does AMIRA’s color pipeline work? We try to answer all those questions in here. Com- bining this guide with the AMIRA Camera Simulator or our other resources will make you “set ready” with AMIRA. AMIRA AMIRA ADVANCED AMIRA PREMIUM 4 5 Displays & Information AMIRA home screen Overview Overview The home screen is AMIRA’s main control display. AMIRA home screen in “left-orientation” It provides quick access to all image relevant parameters, status information and access to the menu. Depending on the LCD screen’s rotation there’s a left or a right orientation. MVF-1, electronic viewfinder and rotatable LCD display for menu and live image 6 7 Finding your way around the camera View finder and LCD Antennas Overview menu control and viewfinder in one unit for Bluetooth and wifi Overview Switches Power, lock and user buttons Audio menu Card slots Connectors Audio I/O ND filter dial (front) as well as eight assignable user buttons monitoring, setup and leveling USB and Ethernet connectors SDI, Power, Sync and Timecode XLR inputs & control, headphone out EI, WB and User switches 8 9 New features in SUP 1.1 Feature Overview This first „big“ firmware update for AMIRA brings • EF and B4 lens – support for a even wider range • Waveform display Overview Overview a variety of useful functions and technical improve- of lenses • Enhanced HD-SDI outputs – status overlays ments: • Wifi remote – to control AMIRA'S basic on SDI functionality and menu settings via Wifi. • LDS functionality – tracking lens meta data for Of this list, one feature is already known from our • Bluetooth audio monitoring use in postproduction ALEXA camera: the pre-record function. AMIRA • Dynamic auto tracking white balance – this • Image quality improvements – thanks to a new features up to 20 seconds pre-buffered recording at mode constantly monitors the over-all white de-bayer algorithm HD resolution (25fps/ProRes 422 HQ) or 4.9 seconds balance and introduces slight adjustments if the • Temporary licenses at 100fps sensor speed. color temperature changes within the scene. An other feature comes in handy when you’re shoot- • Pre-record function – cycles up to 20 seconds For more information on the new features in SUP 1.1 ing documentary style and have to deal with multiple prior to pushing the REC button at HD and changes please have a look at our release notes lighting situations: dynamic auto tracking white resolution (25fps/ProRes 422 HQ) or 4.9 which can be found at www.arri.de/camera/amira/ balance. This mode constantly monitors the over-all seconds at 100fps sensor speed. downloads. white balance and introduces slight adjustments if • Faster boot-up time the color temperature changes within the scene. • Color bars 10 11 Working with AMIRA Software Versions and Hardware Configuration An AMIRA can be ordered in a basic, advanced or AMIRA ADVANCED AMIRA License Shop If a particular project requires a feature that is not premium version, each providing a different level Features additional to the economical AMIRA set: AMIRA customers can choose from a wide range available on your camera version, you can purchase of camera features. In addition to the software, the 100-200 fps; ProRes 422 (HQ) recording; Log C; of feature and accessory options to build their ideal a through Working with AMIRA Working temporary license (good for one week) with AMIRA Working customer can select from different, exchangeable unlimited look functions; import looks; ASC CDL package. Flexibility is the key: You can adapt an the ARRI License Shop at https://alshop.arri.de. hardware components to configure lens mount, in-camera grading; dynamic auto-tracking white AMIRA to best fit your requirements with You can also temporarily down-grade a camera, by battery mount and bottom plate. Whichever AMIRA balance; WiFi remote control; Bluetooth audio removing a certain license and re-installing it after camera set you purchase, it can be upgraded with monitoring; pre-record function. • Temporary license upgrades the job is done. additional functionality by buying an appropriate • Permanent license upgrades license at the ARRI website. AMIRA PREMIUM Features additional to the AMIRA Advanced: 2K Enabling either to go from AMIRA CAMERA set (2048 x 1152) and ProRes 4444 recording; import Features include: HD 1080i and 1080p; 0.75-100 custom 3D LUTs. • Basic to advanced fps; ProRes 422 and 422 (LT) recording in Rec 709; • Basic to premium three looks; adjustable in-camera image parameters • Advanced to premium for knee, gamma and saturation; peaking for focus control; zebra and false color for exposure control. 12 13 AMIRA – ALEXA, the key differences AMIRA Premium ALEXA XT Plus AMIRA Premium ALEXA XT Plus Sensor type 35 format ARRI ALEV III CMOS 35 format ARRI ALEV III CMOS Lens mounts PL LDS, EF and B4 mount available PL-LDS mount Dynamic range 14+ stops 14+ stops With external lens motor controller like Built-in 3-axis lens motor support with Lens motor support UMC-3, UMC-4,… ARRI accessories Sensitivity range 160-3200 ASA, base sensitivity 800 ASA 160-3200 ASA, base sensitivity 800 ASA Working with AMIRA Working Built-in sliding FSND filters with a density of 0.6, 1.2 User exchangeable FSND filter set, eight densities HD-SDI Return-In, Timecode (In and Output) Lemo with AMIRA Working Behind the lens filters Inputs Genlock, HD-SDI, Timecode (In and Output), all BNC and 2.1 available 5pin Frame rate range 0.75-200 fps 0.75-120 fps 1x XLR 5 pin, 2x XLR 3 pin; analog and digital signal Audio Inputs supported; mic or line level and phantom power. 1x XLR 5 pin analog Sensor Aspect 16:9 16:9, 4:3 4 audio recording channels ARRIRAW 16:9 (2880x1620) Outputs 2x HD-SDI 1,5G & 3G 2x HD-SDI 1,5G & 3G ARRIRAW recording Not available ARRIRAW 4:3 Full (2880x2160) and Crop (2578x2160) ARRIRAW Open Gate (3414x2198) Audio outputs 3,5mm headphone jack, Bluetooth audio 3,5mm headphone jack Hirose 12pin (for ENG type zoom lenses); 12V: D-tab, 16:9 HD (1920x1080) progressive & interlaced 16:9 HD (1920x1080) Power outputs 12VLemo 2pin and 24V: RS 3pin ProRes recording 16:9 2K (2048x1152) 16:9 2K (2048x1152) Hirose 4pin, Lemo 2pin; 24V: RS 3pin 4:3 2K (2048x1536) Other Interfaces USB 2.0 (for usersets, Looks etc.), Ethernet Ethernet, LCS, LDD, EXT-Sync ProRes 422, ProRes422 HQ, ProRes 4444, ProRes ProRes codecs ProRes 422, ProRes422 HQ, ProRes 4444 Exposure control Aperture and color Peaking, Zebra, False color False color 4444 XQ AMIRA Look File: adjustable CDL (Color Decision SxS PRO, SxS PRO+, CFast 2.0 memory cards (using Recording media CFast 2.0 memory cards Look management List) parameters, adjustable Video Look Parameters ARRI Look File (similar to CDL, 1D-LUT) an adapter) and XR Capture Drive (Knee, Gamma,…) and Custom 3D-LUT support Motorized filter mechanism holding three User buttons 4 (8, via shift button) buttons and one user switch 3 (6, assistant’s side/menu only) buttons Filter holder within the PL mount; eight different Internal filters densities Full Spectrum Neutral Density filters Full Spectrum Neutral Density filters available (ND 0.6, 1.2 and 2.1) 14 15 ProRes recording The AMIRA camera records HD (1920x1080) or ProRes 2K image aperture Sensor 2K (2048x1152, requires Premium license) clips as When the ProRes recording resolution is switched Format Resolution Color Coding Data Rate1 Data Volume1 Speed Range3 Mode QuickTime ProRes files. Clips are recorded internally from HD to 2K, the captured aperture changes from onto CFast 2.0 cards (CompactFlash ATA Serial 2880 pixels / 23.76 mm / 0.935" width to 2868 pixels 16:9 HD 1920 x 1080 10 bit YCbCr 78 Mbit/s 40 GB/h 0.75 – 200 fps Transfer Standard 2.0, issued 2012), which are / 23.66 mm / 0.932" width. This allows the use of an ProRes 422 (LT) 16:9 2K 2048 x 1152 10 bit YCbCr 88 Mbit/s 45 GB/h 0.75 – 200 fps available in 64 GB and 128 GB capacity, offering optimized in-camera downscaler and provides the Working with AMIRA Working 16:9 HD 1920 x 1080 10 bit YCbCr 111 Mbit/s 57 GB/h 0.75 – 200 fps with AMIRA Working 43 and 87 minutes of recording time (1080/25p best possible 2K image output.
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