ARRI Amira $40k US

[Tim Tyler]

ARRI announces today that pricing has been set for its new
documentary-style camera, AMIRA. Orders are now being taken. Prices for the
camera with viewfinder start at $39,999.00 and customers can choose from a wide
range of feature and accessory options to build their ideal package.

Flexibility of configuration is the key to ARRI’s pricing structure. Temporary and
permanent software upgrades allow owners to adapt AMIRA according to the changing
professional needs of their evolving careers, extending the return on their investment.

AMIRA is a versatile camera that combines exceptional image quality and affordable
CFast 2.0 workflows with an ergonomic design optimized for the shoulder-mounted lone
operating typical of ‘run and gun’ documentaries. Ready to pick up and shoot straight out
of the camera bag, AMIRA is rugged enough to take anywhere and suits a wide range of
different production types and shooting environments.

 

There are three camera configurations to choose from, differentiated by their software
feature-sets. Customers then select a lens mount, battery mount and bottom plate to
assemble a complete camera; these are configured separately because there are
various options for each. Whichever AMIRA camera set is initially chosen, it can be
upgraded with additional functionality by purchasing a license at the ARRI website.

The entry-point AMIRA camera set allows Rec 709 ProRes 422 recording up to 100 fps
and might suit owner-operators working mainly in the corporate, online and television
markets. Next is the advanced set, a true ‘all-rounder’ configuration that adds features
such as Log C, ProRes 422 (HQ) at 200 fps, in-camera grading and a pre-record
function, among others. The premium set incorporates features for high-end productions
perhaps using AMIRA as a companion to ALEXA, including ProRes 4444 and 2K up to
200 fps, as well as limitless color control on set and in post with custom 3D LUTs.

Full pricing details are available through ARRI and its official sales channels. Delivery of
AMIRA cameras is due to start early in Q2, 2014.

[Phil Rhodes]

And the same again for that rather heavy lens.

 

Has anyone here ever worked for an industrial client that can afford a $80k camera package? I certainly haven't.

[Brian Drysdale]

I suspect it'll be used on those documentary productions that are currently using the Alexa. These seem to be flagship programmes for the BBC etc.

[Adrian Sierkowski]

I could see, at those prices, a lot of people buying in house for a few years of ownership and then just taking them out on industrial to make ends meet on occasion. Or, I can see this erring into broadcast as well as some LB feature work and music video-- especially music video of a certain budget that doesn't need xKs.

[Phil Rhodes]

What's scary is that even with an adaptor to B4 lenses ($5k or so) you're still into a $20-$25k lens to do it justice.

 

P

[Freya Black]

What's scary is that even with an adaptor to B4 lenses ($5k or so) you're still into a $20-$25k lens to do it justice.

 

P

 

I hate to say this but maybe you don't need to do it justice. I mean it still says Arri on the can whatever lens you use.

 

I think you will also have the same problem with all those 2/3 inch cameras out there that shoot 1080p such as the Panasonic HPX3700 or whatever.

 

Freya

[Freya Black]

I meant to say that I'm not sure that B4 will be all that popular on this camera anyway.

 

It think it's going to be popular with people who people who want a cheaper alternative to the Alexa really!

I see it being really popular in PL and canon EF.

 

I'm not sure about shooting B4 with it. Maybe for natural history programmes.

 

Freya

[Phil Rhodes]

 

 

I think you will also have the same problem with all those 2/3 inch cameras out there that shoot 1080p such as the Panasonic HPX3700 or whatever.

 

Which problem is that?

[Adrian Sierkowski]

The problem that the lenses-- the zooms-- to do justice are insanely expensive, I would. assume.

[Phil Rhodes]

A decent B4 mount broadcast zoom? Yes, $20-25k, certainly.

[Freya Black]

A decent B4 mount broadcast zoom? Yes, $20-25k, certainly.

 

I'm sure an older one would still work and it would still say Arri on the tin like I say, but all of those 2/3" kind of cameras have that problem was my point! (wanting to add a nice B4 Zoom at $20-25k that is)

 

Freya

[Freya Black]

My new Arri Amira article is live:

 

http://www.redsharknews.com/business/item/1439-an-in-depth-look-at-the-new-arri-amira-prices-rental-option-for-camera-software-upgrades

 

There was a bit of an extended delay while the editor got confirmation for me that the rumour they are going to rent the licenses is actually true! Why they don't put these things in the press releases I don't quite understand but anyway it appears you are going to be able to rent the licenses on a weekly basis which makes everything make a bit more sense really. Obviously I have no prices for that yet, as it's like trying to squeeze blood from a stone and lets face it they probably havn't made up the prices yet.

 

Freya

[Phil Rhodes]

I'm very cautious about the idea of renting software.

[Will Barber]

Why not just put whatever lens you want on it? Does it have the swappable mounts like I thought they said it was going to? I'd be more inclined to use it as a $40k Alexa, more like a production camera. Though the limit to Rec709 on the lowest priced one is kind of disappointing...if I could get that one with ProRes I'd be really happy. Not that I have any money to drop on a camera right now, but if I did I'm sure the mid-level Amira is where I'd try to start.

[Freya Black]

Why not just put whatever lens you want on it? Does it have the swappable mounts like I thought they said it was going to? I'd be more inclined to use it as a $40k Alexa, more like a production camera. Though the limit to Rec709 on the lowest priced one is kind of disappointing...if I could get that one with ProRes I'd be really happy. Not that I have any money to drop on a camera right now, but if I did I'm sure the mid-level Amira is where I'd try to start.

 

Well they all do ProRes, just at different levels of ProRes. ;)

 

I agree, just stick any old lens on the thing. In a few years time it will probably be trendy anyway, people will be talking about the beautiful and characteristic chromatic edge on their treasured Fuji J9B4XX66 lens. I mean it's a lens, what are you worried about? That it won't resolve 1080p? That's not stopped a zillion things being shot on cheap DSLR cameras. :)

 

Yes it still does PL, B4 or Canon EF. How swappable they actually are I'm not sure!

Time will tell us everything I am sure.

 

Freya

[Tyler Purcell]

Its a great idea for Arri to come out with this camera, the ENG market needs a quality cinema grade camera pretty badly. Remember, if you aren't an ENG guy, you wouldn't be buying this camera, there are plenty of other options on the market for cinema. This camera fills a void where people need a cinema looking camera, but the flexibility of ENG. I've used ENG cameras for more then a decade and I vastly prefer them over the "cinema" double-system cameras we have today. The problem has always been, the ENG cameras look like crap. One hopes this new camera looks good, only time will tell!

 

On a side note, isn't it funny Arri announced this camera between IBC 2013 and NAB 2014?

[Freya Black]

I think a lot of people are very excited by the camera but are now kinda confused by all the pricing stuff but there we are.

 

For ENG type shooting on a cinema grade camera tho, how do you feel about the Sony F5 and F55 which can be configured in a similar way?

 

I think this could also be a hit with the indie cinema type world as a cheaper Alexa alternative too.

 

Freya

[Phil Rhodes]

Of course it also means they can unlock better-than-709 recording options on the lowest end one in the future, and improve the value of their camera offerings without having to actually do anything.

 

This is chicanery, which is why I don't own an Odyssey 7Q recorder-monitor.

 

P

[Mark Kenfield]

I don't buy into the whole 'documentary' pitch. These things stand a very good chance of dominating indie features and narrative TV shows as a lighter and cheaper Alexa, as well as potentially being a handheld 'c'-camera for Alexa shoots.

 

I think a lot of people underestimate just how many features are shot on ProRes rather than Arriraw.

Edited February 1, 2014 by Mark Kenfield

[Will Barber]

I love the form factor of ENG cameras. I work for a sports show, so the cameras I shoot on most are HPX370s and 500s. What the Amira did that really excited me was take away most things that'd make an ENG camera undesirable for cinema by putting the Alexa sensor in, recording to ProRes on CFast cards, and adding a higher quality EVF. Also, they improved on other characteristics of ENG cameras by adding the highly adjustable shoulder mount and EVF location. I'm glad they left the rail mounts on, just like the alexa, so all you'd need to do is stick some handles on the front of a studio rig and pretty much be set to shoot.

[Alexis Marcoux]

Hi,

 

just want to jump in and tell my wonderful experience buying the Amira. Because I was VERY serious about getting it. Even first, when I saw the price they choose to sell them. Witch I think is way too high after you do the math. Example, here in Montreal, Canada, after the cut of AbelCine and the rate exchange, the premium package end up at 70000$ + txs. And that is no joke and very real!! Even more disturbing is the fact that there in NO Amira supplier in Canada. Sorry but what the F@&k! By the way, my supplier who help them make a name here for them self back in the days just learn today that they could not sell Amira for Arri. They order them 4 months ago and Arri just nicely told them today that they could not sell the camera... Not a very respectful way to do business. Don't you think?

 

I'm a company owner and operator. I would a love to own this camera and I was prepare to spend a lot. But honestly, looking at that crazy final price and seeing how Arri is dealing with "the little people". I will sadly pass and wait a for the next great camera.

 

Cheers

[Phil Rhodes]

 

 

I love the form factor of ENG cameras.

 

Me too. The only problem with them is that they get rather long. Otherwise it's a fine base that can be accessorised to do more or less anything.

 

As opposed to film cameras, which, in the main, have been, well, a sharp-edged metal cube.

[Will Barber]

What I like most about film cameras is that they're weighted correctly and the eyepiece is in the right spot for handheld. Most digital cameras nowadays are nearly impossible to shoulder mount correctly without adding a $1000+ EVF, which is difficult for a student to come by. Length isn't too much of a problem for me, I've gotten pretty good at navigating with the HPX cameras at crowded hockey games and I'm used to shooting hockey with a huge cord and buttpack hanging off the back, so I wouldn't see that personally being an issue. If I REALLY was concerned about that for a specific shoot, I'd probably be looking at an Arri M anyway. As far as a decent all-around camera though, I'd LOVE an Amira. It's nearly complete right out of the box, and I could easily finish out the package with gear from school. It's completely out of my reach at this point, but it's a relief to know that if someone asked me what camera in the world I'd like to shoot with I wouldn't even have to think about it. I don't think I've ever been as impressed with digital than the first time I saw an Alexa in action and then later saw the graded image.

[Phil Rhodes]

 

 

Most digital cameras nowadays are nearly impossible to shoulder mount correctly without adding a $1000+ EVF, which is difficult for a student to come by.

 

In general I couldn't agree more, although that isn't really what I think most people mean by an ENG layout. It frustrates me that even higher-end cameras such as the Canon C series and Sony F3 tend to have the standard, substandard "tube poking out the back" approach to viewfinding which is completely useless.

 

P

[Silvan Liu]

Even more disturbing is the fact that there in NO Amira supplier in Canada.

 

I'm sure these people would be glad to help you purchase an Amira in Canada.

 

ARRI Canada Limited

(Sales & Service)

1200 Aerowood Drive, Unit 29

Mississauga, Ontario L4W 2S7, Canada

info@arri.com

Phone: +1 416 255 3335

Fax: +1 416 255 3399