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Prices Revealed for AMIRA, ARRI's Cheaper ENG-Style ALEXA-Sensor 2K/HD/200FPS Camera

01.29.14 @ 3:18PM Tags : , , , , ,

AmiraAt the IBC show in Amsterdam back in September, ARRI made a huge splash unveiling the AMIRA, which has the same 16:9 sensor as some of the higher-end ALEXA cinema cameras. While the AMIRA is an ENG-style camera marketed towards documentary filmmakers by the company, the possibilities for its use certainly don’t stop there. The promise of ALEXA image quality in a cheaper rental package is certainly enticing, but what if you want to own one of your own? Click through for some pricing information that has finally been revealed.

[Update 2]: The base price for the three different camera tiers is $40,000, $45,000, and $52,000 in the US. Full packages for those tiers depending on what you get will be $50,000, $58,000, and $66,000.

[Update]: ARRI has issued a press release with some pricing information for the US (thanks to AbelCine). It looks like instead of being cheaper in the States, it’s actually going to cost more. The basic AMIRA package is going to start at $40,000, and then presumably cost close to (or more than) $50,000 for the highest spec package. It’s worth noting since it was not mentioned below, that these software licenses for more functions can also be rented, so if you owned the base package, you could likely rent licenses when you need them for specific projects.

As a refresher, here are the specs, followed by the product demo from ARRI:

  • Super 35mm 16:9 Sensor (Same Exact Sensor as Other 16:9 ALEXAs)
  • 2K/1080 Rec 709/Log C using ProRes LT, 422, 422HQ, or 444 codecs
  • Up to 200fps
  • Records to CFast 2.0 (New Compact Flash card standard)
  • 1280 x 1024 OLED Viewfinder and Separate LCD Monitor
  • Internal ND filters
  • 4-Channel PCM Audio: 48KHz 24-bit
  • Selectable 3D LUTs can be recorded
  • Aimed at Documentary, TV Magazines, Trailers, Corporate, Factuals, Live Events
  • Interchangeable Lens Mounts: PL, PL Broadcast, B4, and Canon EF

CVP Group tweeting the details of the pricing options for the AMIRA:



25,980, 28,980, and 32,980 Euros is obviously the price for Europe, but if that’s translated directly to American dollars, what would it look like?

$35,444, $39,537, $44,994 for the three different packages.

Now, as we know, prices don’t always work like this, and often cameras can end up being more expensive in Europe even accounting for exchange rates. It’s unclear if this will be the case with the AMIRA, but if it is, these prices may end up being a little less in the US (or maybe quite a bit less).

The AMIRA does have a lot going for it that the lower-end ALEXAs do not have, including built-in ND filters and full audio controls. What you lose with the AMIRA package is the ability to shoot any higher than 2K (and you’re going to pay the most if you want that 2K and high frame rates), and also the ability to record RAW. For the market this camera is aimed at, neither of those things are really an issue, but it’s something to keep in mind if you were considering using it on all sorts of different projects.

It will be interesting how a camera like the ALEXA HD fits into all of this, but it could very well be that ARRI sees them as completely separate markets even though they aren’t too different in pricing. It has been stated that the sensor in the AMIRA is the same one found in the 16:9 ALEXA, but it has also been mentioned by ARRI people that the processors inside differ, so final image quality may not be exactly the same.

It’s worth noting again that this kind of gear is a rental for the vast majority, but the price of the camera does affect how much it’s going to cost to rent. Either way, I think it’s clear that ARRI isn’t really interested in trying to be the lowest cost option out there, even among the highest end of cinema and TV. First and foremost for them are usability and image quality — and it’s hard to argue with that philosophy when the company has pretty much ruled the Oscars this year.

We’ll update if this information changes, and will add US pricing when it is official.


[via CVP Group Twitter]


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Description image 126 COMMENTS

  • I believe $25K was the speculated price back in September (depending on the package), so this falls in line with the expectations. With a bunch of new cams coming out in two weeks, this is a clever in-between-the-shows announcement. My prediction is that Amira will do better in Europe than in the US, which is gearing up for the 4K adaption already.

    • And $25000 is roughly the price you’re going to see.
      When translating prices of electronic equipment from US$ to euros, you don’t use the exchange rate. Taxes are way higher here in Europe, and there are laws mandating things like warranties and such, which make things more expensive (plus, there’s less competition in retail, which also pushes prices up).
      Quick example: cheapest Mac Pro, price at $2999, price at 2999eur
      Same 1:1 exchange rate with MBP, macbook air, etc

      Bottom line: prices will probably be $25980, $28980, and $32980.

      • Ya, I brought this up in the GH4K CES announcement, when the expected price was €2799. I referred to the Big Mac and iPhone indexes. It’d be nice to get a warranty on a Big Mac though – a “no tummy ache” guarantee.

      • Except US ARRI pricing is based on exchange rate for last 40 years

      • well, you can all call me a fool now…

        USA price is out: $40K, nearly twice as much as I expected

        This must be the first time a piece of electronic equipment is cheaper in EUR than in USA…

        • It’s the same price at current exchange rates.

        • An adventurous move, I say. It’s pretty hard to back off these levels, which may play right into Sony’s (and Panasonic and/or Red’s) hands. Alexa has been the king of digital but, if a perception of being gouged emerges, this will negatively effect the general relationship between the manufacturer and its customers. To further this along – if Amira is priced at $40K and up, then the yet-to-be-seen 4K Arri cam will have to be priced close to $100K and Hollywood studios will have to really, really, really like it to pay such a premium over F65 or the Dragon. Moreover, with the cost of the electronics on a consistent downward slope, even the two year old $65K F65 should see a price drop. Looking at the general high end market, the big budget production is still dominated by film, the TV market is heavily leaning toward Sony’s far more affordable offerings, making Arri aim at a very small market niche. A few years ago, a 2K movie cam was priced at a quarter mil, so maybe they’ll succeed at $100K or so but bigger fortunes have been lost with smaller missteps.
          PS. Out of curiosity, Samuel, what are Porsche 911 and BMW prices in Europe? It’d be interesting to compare the prestige brands with production facilities within a stone throw from each other. (Like ARRI, BMW is also HQ’s in Munich, though the plants are scattered throughout Germany and, in some cases, across the globe)

  • I rather buy a Car

  • I love the look out of the Alexa and I hope the Amira holds up to that. But am I correct in understanding the price differences between the three Amira’s are just licensing? I understand software is takes a lot to create, but there’s something dirty feeling about them intentionally nurfing a camera and charging an extra 10k to unlock it. If I’m wrong here than I retract this statement.

    • What if Arri have worked it out like this:

      They expect to sell 5,000 Amiras and start turning profit (after R&D, production and distribution) at $35,000.

      Option 1:
      Sell one fully-featured model for $40,000, making $5,000 on each for a total profit of $25m.

      Option 2:
      Sell a basic model below profitability ($30,000), a mid-range model at a modest profit ($38,000), and a top-of-the-range model at a healthy profit ($45,000). They expect to sell 1,500 of the base model, 1,000 of the mid-range, and 2,500 of the top-of-the-range, for a total profit of $25m.

      You may not like the sound of software crippling, but option 2 means more people can afford an Amira.

      • I understand the economics of it, if that’s the real reason, but as an owner I’d feel burned is all I’m saying. It seems like most would be willing and able to put fourth that extra 5k to get the 444 and 200fps evening out costs and simplifying their sales model. Buuuut I dunno, whadyado. They know they’ve hit a niche market, no other camera produces an image like the Alexa (I sure hope it does at least) and has all the ENG type goodies.

  • hahhah the lowest priced Amira shoots at maximum ProRes422 at Rec709….they may be joking……

  • I saw something a while ago where an Arri rep explicitly said that they build their cameras to be ready to shoot out of the box. None of that modular stuff (with the exception of the Alexa M of course). So really those prices should be all you need to spend with the exception of glass.

    And I think the Alexa has done a pretty solid job of proving you don’t NEED 4k to deliver beautiful images, so I’m not even going to say anything about that.

  • Can’t wait to rent one of these beauties. Will make an unbelievable doc cam!

  • Too much , I’d rather buy a f55 in a heartbeat or better yet a red dragon because this camera is not future proof .

    One could buy 6 black magics and build a TV studio for these ridiculous prices

    The fs700 can do 444 and up to 240 fps

    • The price isn’t ridiculous in a professional context. A pro TV studio would never use Blackmagic Cameras and you certainly couldn’t build one for 100 grand let alone 25. People make these judgements based on their own perspective as amateur videographers rather. These things are for professional cinematographers and TV camera men. The value of even the original Alexa is evidenced by how many TV shows and movies are being shot with them nowadays.

      • Henri De Vreese on 01.29.14 @ 6:30PM

        The original Alexa offered something most camera’s of that time didn’t offer… What does this offer above other camera’s? I’ll tell you: a stupid price. Not even RAW for that price, what were they thinking??
        ENG-style is nice sometimes, but then it’s way better to go to a real ENG camera and not this transformed downgrade from a good cinema camera… Sorry Amira, you will sit on the shelves for a long time.

        • You’re kidding, right? There’s a reason Arri is known worldwide as the best. They don’t half-bake any of their products.

          • Henri De Vreese on 01.29.14 @ 8:12PM

            They already half-baked it by giving 3 options. These options are just a change in firmware and cost 10K to get a good firmware. The Amira looks good for the usage, but even their showreel doesn’t show anything that justifies a ENG-style camera and cannot be done with a basic cinema camera of 1/4 the price or even much less. This would even bring down the whole production cost significantly.
            If the full firmware option was around 15K it would be a good price/performance camera, but not offering 4K and Raw at 45K is just a joke…

          • That was 3+ years ago, its 2014 and there are plenty of cameras capable for less minus 200fps.

            Also everyone knows it takes tv studios And productions at least 4 years to adapt to new technologies.

            The Sony f35 and f3 is still used on many TV sets today

          • Why do you NEED 4k so bad right now?

          • There is no NEED for 4K, it’s just that the market is moving over there.
            4K is easily edited with the newer computers without braking the bank and it just looks better and gives more options. (bit of cropping, noise reduction, 4K playback on the new 4K delivering services like Netflix,…)
            Sorry, but 2K is not of this decade anymore and by the time the films that are filmed with these camera’s are done (in 2 years), 4K will be the standard… The next worldchampionship football will even be filmed and live-streamed in 8K! 2K is next years 480p. I want my next short film to be in 4K, so it can be futureproof. And I don’t have to have tons of money for that like it used to be…

          • Hahahaha 8k. Now I really can’t take anything you say seriously.

          • Pat, I am serious… There is an agreement between the cup and Sony to shoot and live stream it at 8K resolution. Why would I tell this if it weren’t true? 4K live streaming is for 2014 in Brazil (this is already 100% sure for Japan) and 8K is agreed for 2018.
            Heck, they are even shooting the 2014 winter Olympics in 8K:
            On November 28, 2013, Organizing Committee of the XXII Olympic Winter Games and XI Paralympic Winter Games 2014 in Sochi chief Dmitri Chernyshenko stated that the 2014 Olympic Winter Games are to be filmed in 8K Super Hi-Vision.

          • The World cup and the next 3 Olympics starting in 2016 will be in 8K on a tv network in South Korea and one in Japan. The BBC is testing out 8K right now. This is not a joke. The Japanese network is working on broadcasting 8K at 120Hz in real time by 2017 instead of 60Hz.

            Isn’t it funny that there are people on the internet complaining about 4K?

        • Patrick Benson on 01.30.14 @ 4:16AM

          And just why would you need RAW when shooting a reality show or Fact. Ent.?

          You realise that even the high-end TV dramas such as Chicago Fire are shot in ProRes Rec709, not RAW? And these cameras aren’t designed for high-end dramas. They’re for documentaries, reality shows, game shows, news and sports, interviews and corporate video. And for that stuff, this is a brilliant camera. A brilliant camera.

          • CornettoTrilogy on 01.30.14 @ 9:01AM

            I think RAW is the most important for Docu/reality TV. If any of those shooting styles give you the least amount of time to setup, it’s that style. You can’t group in a Drama show like Chicago Fire with a Reality TV show. They have more time to setup than documentary style, and have a more controlled environment. Although you may have the privilege to spend time on setting up certain shots, the fact is you need to capture the right moments. And forgetting about your white balance settings and what not is such a great luxury to have on a quick paced shoot.

      • thadon calico on 01.29.14 @ 8:50PM

        You do realize that TV SHOWS SHOOTING ON THE ALEXA DONT SHOOT RAW RIGHT? One of the reasons they flock to the alexa aside from the high DR and dope camera build is prores

      • You sound ridicoulous , a professional could easily use a black magic camera, production sets are usually ran and operated by ASC certified camera men who use rented cameras usually from vendors with long relationship history, so there for alexas will still probably be used for another 3 or 4 years, seeing that it usually takes years before production companies adapt to new and sometimes cheaper technology.

        The sony F3 AND F35 is still used on alot of set despite the fact that there are cheaper and better cameras for certain instance.s

    • Haroun Souirji on 01.29.14 @ 5:35PM

      The FS700 is absolutely horrible at handheld and shoulder use. The image is the worse I have worked with too. Have you ever used a Fujinon powered lens? It’s wonderful and you can use one with the PL mount of the Amira, not with the FS700 and Black Magic. This is aimed at the people who use those kind of lenses and thoses lenses cost as much as an F55 so the price of this camera is of course in another league.

      And I own an FS700 and have rented kits with Fujinon zooms. I’ll also rent an F55 kit very soon. Also like mentionned above please keep in mind that this camera comes ready to use. If it is ready to rent before the Summer I am pretty sure i’ll rent the Amira over the F55 for a 5 week shoot in the middle of the jungle I should have this year…

      • Haroun Souirji on 01.29.14 @ 6:46PM

        However yes the cheapest option is a bit of a joke. And I think it is indeed priced slightly too high.

    • Um… I no way whatsoever should the piece of plastic fs700 be compared to this camera. It’s sensor isn’t nearly as good and you are extremely limited to the time in which you can shoot at higher frame rates. Anything more than 240fps isn’t 1080p as well. So those extra 40 fps I could care less about.

    • No way in the world that you can build even a half-decent studio for under $45k unless you have a lot of the major components in place already. I know, I’ve done it multiple times.

    • F55 is a better camera all around.

  • You can’t even shoot log c on the cheapest one?? It seems like the most inexpensive option is a bit of a joke. Capping off at prores 422 (which is around 150mbps) and only enabling rec 709???? What’s the point? Save a few grand? At that level a few grand isnt much to save when you lose so much functionality (also 200fps is missing). As much as I am excited about this camera it seems like intentionally handicapping it just to have a “budget” option is silly. But hey, its Arri. They most likely know what they are doing. Probably want to have a cam to compete with Sony and panasonic in news and reality TV, and log c is useless for those situations.

  • Arri is an amazing company. In an infested 4k hyped industry it realeases an awesome and expensive 2k camera and you know what? It will sell a lot and will probably be the favorite camera again amongst its segment.

    • Obviously, the final prices are yet to be announced in the US but F5 is going to compete in this sector on both price and features. Plus, if 4K is going to really take off, there’ll be a lot of used/rental Alexas available as well. The “inexpensive” $45K 1080p Alexa arrived with a thud too. And there’ll be a lot of new 4K cameras coming out in all prices ranges. If I were to compare it in marketing terms, I’d bring up Porsche 924 – a stripped down version of a great car that didn’t sell as well as hoped.

    • ARRI is building a 4K camera.

  • mmmmm, amazing but i dont have money for that toy.

  • ” but it has also been mentioned by ARRI people that the processors inside differ, so final image quality may not be exactly the same.” Yeah I’m totally not sure but this could be the caveat that kills this camera for me.

  • Full setup with F5 is a lot better deal.

    Image is more that enough for doc work:

    (Apart from that , of course they will sell lots Amiras, it is Arri after all).

  • Strange World on 01.29.14 @ 9:03PM

    The price of a condo in Bangkok !

    • A cinema camera in an ENG body with built in ND filters, interchangeable lens mounts and up to 200fps? This is a dream-camera! If it doesn’t have 4K I am pretty sure ARRI knows why… and those complaining about the price probably do so because (just like me) can’t afford it even as a rental. You can drive a bicycle or a Mercedes Benz, both get you from A to B, the effort, comfort, safety, speed and price are the difference.

  • So how would one focus using the AMIRA handheld? I would assume it would have to be used manually like a real ENG cam…. A follow focus seems like it would be cumbersome as well as odd placement. That shoulder bracket doesn’t look like it could support rods anyways. Auto-focus would definitely be out of the question unless there’s some PL lens I’m not aware of that could electronically communicate such information. Just trying to see how this would work well in a run and gun situation.

    • ENG lenses (Fujinon for example) usually carry lenses with a built in FI-Z module on one side that doubles as a grip for holding the camera (usually with your right hand). When shoulder mounted, focus is usually pulled with the free hand, manually.

  • But try to use that 200fps for more of these. ;-)

    [ ]

    I know it was done at 1800fps. But try, ok? ;-)

  • Can anybody in here infer from the fact that it also does have a EF-Mount? Did Canon finally manage to get their glass accepted among a wider community of cinematographers so that even ARRI sees it as a valuable business model to include an EF mount?

  • Been waiting a while for the announcement, the up-sell here is the Alexa-like capabilities but come on, if this is not at least up-gradable to 4k in the future (maybe it is) then it’s overpriced. The dragon/F55 make better since for cine applications.

  • You all are a bunch of idiots….seriously. Go take your gh2 and shoot your cousins wedding…

    • john jeffries on 01.30.14 @ 3:56PM

      Pretty much. 99% of people that complain about camera specs online will never shoot with said camera

      • Haha, but wait! 4k is so amazing, my mom just bought me the best camera ever made, gh4. Oh yea 4k baby! I shoot videos of my cats and my dad walking around the house. It’s in 4K so I’m a “pro” now…

        Please people, the 4k movement means nothing to me. Listening to everyone saying how they are “future-proofing” there films/or themselves is like some slogan they are trying to embed into the average users brain. Is 4k a pretty cool feature? For sure. But we are talking digital cinema cameras from none other than arri. Who in my opinion(and of probably most all of the high end film community aswell) has been able to make the best reproduction of a 35mm film camera for the digital age(the Alexa).

        What happened to everyone? 4k this, OMG 8k that!!?! I see that being great in high definition sports, period. When you want to produce a film that has the incredible, silky smooth cinematic look of film, you don’t shoot in 4,6,8, or 100000000k. I mean of course you can, or for you who just talk and don’t even shoot, probably think it’s what you NEED to do to be a real filmmaker. Why don’t you appreciate the beauty in the imagery that these arri digital cinema cameras produce. To me the look is on a different level and timeless.

        The cameras are developed by one of the greatest, and if you know what your getting I don’t need to get into specifics about sensor, codec, etc.

        If I hear 1 more person tell me how they are “future-proofing” themselves, well then… Forget about it.

        For all of you complaining about the release of another revolutionary camera, you have much to learn when it comes to cinematography, quite frankly(and I’m just assuming) most of you have never been around or filmed with equipment of this caliper, never gone out and and wrapped your hands around a classic panavision 35 mm film camera with such respect for the equipment. What arri has been able to do, making what industry standard film cameras were, on a digital platform is incredible. You will never appreciate this type of equipment and never understand until you work first hand with one. Any and everything Arri is producing and continues to develop and release will all be works of art and some of the best tools in modern cinema. Until you appreciate and respect this medium, you should refrain from commenting, because It is clear the lack of knowlage, budget, and appreciation you have for such professional gear.
        I am sorry for the rant but it blows my mind some people call themselves cinematographers or atleast pretend to be, and yet have some of the most novice understandings of the topic in general. Researching camera stats online will get you nowhere, get out there and actually put your views and negative opinions to test. I guarantee in the end you will be biting your tounge with your tail between your legs.

        With that said, enjoy shooting your cousins wedding with the gh2!

        • No one is throwing the gh2/gh4 on your face you spineless defenseless arrogant pseudo cinematographer! Think Red Epic Dragon. They shoot movies, not weddings but maybe Amira could be a great wedding camera.

        • Thank you Bobby for you amazing message !!

  • Apart from docs etc this will be used a lot in indy film. Even 2K RAW will look good on the screen, if shot well.

    • And indy people should just get used Sony F35 + suitable recorder and be done with. Just read about guy who mentioned that he got his F35 at about $10K.

      F35 blows this Amira to small pieces, when it comes to small time film making. Image is simply that good.

  • Arri has made a beautiful camera but as was to be expected priced it 10-20k above what the market suggests its worth. You pay for a good camera, and then double it for the name. I was interested in this camera, but the tier strategy makes it completely unaffordable. The camera was announced as doing 200fps, the sensor is capable of doing 2k. You shouldn’t have to pay so much more to get the fps it was always supposed to have. And you shouldn’t have to pay a heap more to have 2k, 1080/2k are so close, having both means the camera can be switched between film and tv work making it much more versatile. For 44k you can build out a 6k Dragon system. Comparing Arri to Red is apple to oranges I know but i makes it very hard to justify to ones self paying the same money for a 5 year old sensor, nice as it is, when the RED now outperforms it in every measurable way. Now if RED made an ergonomic product there would be no discussion. Bring on NAB

  • Anthony Marino on 01.29.14 @ 10:56PM

    No such thing as a perfect camera even now. Alls was needed is some 2k Raw and some 4k compressed and they could’ve took the crown for versility. Maybe the crown they hold for the Alexa will carry over into this model. If its one of those things where you can’t tell between the f55, Dragon or whatever else comes out soon then it won’t be exclusive like the the Alexa. I’m betting it’s great, just how great is the question.

  • Think some of you guys have this all wrong…. The cheap amira would be geared towards studio setups which are traditionally held by sony xdcams or P2 cameras. A sony F800 which only does 422 50mbps still costs about $40k and tv camera men world over still pay that much for them. Arri is trying to muscle in on that market and those guys or the networks they shoot for don’t need log c or raw because its just an unnecessary headache and they don’t want to pay for those options.

    If you want to compare an F55 in cost it will still cost you 40k+ for a full kitted up camera which will be falling apart at the seams in 1year, I work in a rental house and the F55 is very flimsy even with protection. Regardless of how future proof you think the Amira is that thing will be solid as a rock and withstand years of abuse.

    Best you kids stick your blackmagics and rokinons

    • What rubbish. The F5 and F55 are built like a rock. If your rental cameras are taking a beating then maybe thats a beating other cameras wouldn’t have survived at all? Its impossible to judge a camera that way.

      The ‘highest spec” Amira doesn’t come close to what an F5 offers and I wouldn’t swap mine for 2 Amiras.

      • For what it’s worth – I too work in the rental biz. The Alexas and other arri gear are built to outlive humanity. The F55 and F5, while they are really cool cameras, spend a fair amount of time going back to Sony for repairs. Be it internal board issues or the physicality of the unit. Those docking module backs with the spring loaded locking are a frequent culprit. Hopefully sony will redesign those – they’ve improved the ND wheel a lot with the new hardware upgrade.

        • But no level of build quality changes the fact that Arri is selling 2K camera without raw support for 33 000 euros…

          Like many have stated above, we live in 2014, not 2004. It is simply ridiculous price.

        • Sony would be well advised to offer the internal recording throughout their pro (5/55/65) lineup without these “bazooka” clip-on’s. As to doc shooting, C300 with its C Log offers a credible – some say, quite excellent – performance for about half the price (one wonders if that is the reason for the Amira’s EF mount) and that will also play into the equation.

        • The treatment of rental cameras is an unfair way to judge a camera. I think you can expect issues with the Amiras viewfinder but time will tell. The F5 docking mechanism is more than strong enough for normal respectful use, not a bunch of monkeys on set trashing it, smashing batteries on the back, dropping it etc, driving it like they stole it!!

          End of the day if I want 4K I can add an R5 on the back and suddenly I have 4K ( 16bit !! ) RAW. And thats true RAW with nothing baked in unlike the C500.

          But I dont want 4K. HD and 2K on the F5 is the sharpest, cleanest and smoothest footage I’ve ever had the pleasure to work with and I love the 422 220mbit SLog2 and in camera I have the option of 444 440mbit SR codec. Plus it has 180fps that uses the full frame and doesn’t crop to do slowmo.

          I was curios about the Amira but their most expensive model cant compete with the F5. Arri had the film market stitched up and the Alexa has benefited from the name and is widely used as a result but pricing these cameras like this when they should be half this price smacks of arrogance.

          And whats this labelling it as “doco” camera. Since when were docos shot on $40k cameras, not that there is anything wrong with that but it really makes me think they don’t know the market. I want Arri to do well and am sure they will but its still a rapidly changing landscape and they just releases 3 paperweights assuming 4K happens.

  • Ben Howling on 01.30.14 @ 3:39AM

    It’s a shame that these cameras aren’t going to be afforded by the masses, but that’s what Arri are doing right – making a product that are in demand by the masses.

    Pricing is smart from their standpoint. People will avoid the cheapest, and most crippled option and go straight for the mid to high range options, and the market they lose because they balk at the difference from low to mid options were probably fringe Arri consumers anyway.

  • Nice article…. but…
    I think the article also missed out another important Arri UK supplier Visual Impact

  • Christophe D. on 01.30.14 @ 7:21AM

    I can stand the price, but I don’t like to have to PAY for software update.
    To me, it would have been better to sell it with all the features at the current maximum package price.

    And I totally with Stu when he says :
    “It’s no longer OK for cameras not to give us everything they’ve got.”

  • If you consider that it’s Alexa quality, with a whole bunch of great stuff built in including the NDs, 4 channel audio mixer, viewfinder etc… It’s a pretty reasonable price. Yes, I too would have liked to see it $10k cheaper, but at the end of the day, it’s an Arri and you get what you pay for.

    For me the biggest selling points are:

    1) Alexa Sensor
    2) Prores4x4 workflow – that’s 12bit recording there. You don’t need raw.
    3) Single user ergonomics.

    I think this camera is going to be a major success for them. And although they are pitching it at the documentary and corporate and TV crowd, I mean honestly, a lot of people are going to shoot films on it. And they’re going to like fantastic. And they rentals will be in line with what people pay for epic and f55 rentals. That’s a huge a deal.

  • Rado Stefanov on 01.30.14 @ 2:42PM

    Where are the cfast2 cards for this camera?

  • I would rent this over a Red Epic, F55, or a C500 any day and I think the rental price will be in that range. There’s a very good reason why the top DP’s in the world have embraced the Alexa over the 4k hype of other camera systems, the image just looks so much better: better skin tones, better highlight roll off, better lattitude and an easy workflow if you shoot a flavor of pro res. You are basically getting the Alexa for twenty thousand less which should make for a cheaper rental.

    This is a great article on the Amira as well.

    • Why? If you just want HD 422 and Prores rent a C100 or a D800 and a Ninja.

      • It’s not just pro res 422, it’s the image sensor that has the value here. The c100, even to pro res, does not have the latitude of the amira, nor the same CFA, nor the option of shooting high frame rates. The c100 is fine for small multicam shoots, docs, etc but for something narrative you really can’t beat the look Arri is providing with their current line of sensors. The C100 is not even in the same league as this camera from an image standpoint. Not to mention, the camera is a bit awkward for handheld work while the Amira is balanced to go on your shoulder without the need of additional rigging.

  • And to counter Amira- “SOCHI, RUSSIA—Panasonic will record the opening ceremony of the Sochi Winter Olympics in 4K with the cooperation of the International Olympic Committee and Olympic Broadcasting Services. The footage will be used as the company’s own video production materials. ”

    The catch is that Panasonic has no “official” (wink-wink-nudge-nudge) 4K cameras. And it’s obviously all being set up as we speak.

  • This is one of the better value propositions for a camera I’ve seen in awhile. The only thing missing is anamorphic and and RAW recording, but this is sold primarily as an ENG camera.

  • But wait. There’s more 4K goodness!
    “SOCHI, RUSSIA—NBC Olympics has contracted Sony to provide a range of HD production technology for the division’s production of the 2014 Olympics in Sochi, Russia, from Feb. 6 to 23.

    NBC Olympics is using more than 70 Sony HD studio and portable field cameras – a combination of the XDCAM, HDC, HSC and HXC-100 models. For the Sochi Games, NBC will also use Sony’s F55 4K camera to capture footage at various event venues.” -


    • 4K goodness. LOL.

      4K really is a sore spot with a small percentage of commenters. I can undertsand the complaints about file size. I haven’t handles 4K files yet. But I’m sure I will be. 4x the information of 1080p is large. But hey, not impossible. Just will take lil longer. And I know there’s someone, somewhere working on making handling 4K faster. Higher K’s are a fascination. I really do wonder how high the K’s can go with known materials. I have asked before if graphene is a feasible material for going even higher in K’s. Most people don’t even know what graphene is. But, it’s a two dimensional material (technically speaking) that theoretically could make not just higher K’s possible but holography from a very small projector. Graphene is already in R&D for foldable/rollable tablets.

      • Yesterday I saw a Coke or Pepsi fridge in a shop filled with softdrinks and a glass door like we’ve all seen a thousand times. But The glass had vision running on it, bubbles and motion graphics yet I could see the drinks through the alpha channel of the graphics!!

        I walked up to the fridge to get a better look and I could then see myself on the fridge but wearing an afro and aviator sungrasses that the fridge superimposed and was tracking to my head in realtime!!

        Forget Orwells future, this was much scarier :)

  • 1) Re 4K: Ever calculated 4K compression ratios? (XAVC@24fps 240Mbit is around 1.3bit (not byte) per 422 pixel, “16 bit linear raw”@1Gbit/sec it is 4.6bit/pixel – 4K is superior resolution, but the datarates used are far from where they need to be even if h264 is a more efficient codec. Go to a good grading room with projection and compare results – and then comment on the performance of the AMIRA :-)

    2) A crucial bit of the AMIRA pricing scheme is missing: You can buy upgrade licenses to the Advance and Premium models later and you can also RENT upgrades on a weekly basis. That way a Base AMIRA can be turned into Premium if it is needed for a job…

    • Technology and storage is constantly improving and reducing in price as we know. So do you want to still spend $40k on a HD camera now because it has an Arri logo? I wouldnt spend $15k on one without the option to expand it to 4K? I don’t really want 4K, not yet anyhow but I want the option to shoot 4K should I want.

      Think of it this way. If Panasonic or whoever released the exact same camera at the same price how would it be received?

      • Who’d ever buy a camera like this unless there was a solid business going that’d justify the expense?

        What everybody does is hiring the right too for the job. And the Amira is very high up there in everybody’s hiring list. The moment Alexa came to the market it became the camera on 99% of commercials and probably something like 80% of music promos. This is Alexa Redux, just that more comfortable and evolved.

        You need RAW? Then hire an XT. Easy.

        • In fact, Arriraw is the only true RAW around. All others have some sort of intraframe MJPEG compression level. :D

          • Having a bit of compression doesn’t make it not true RAW but baking in the ISO like the C500 makes that not true RAW. The Alexa might be uncompressed RAW but its only 12bit and not 4K. The F5 RAW is 16bit 4K (or 2K) and compression is only 3:1 which is hardly anything, not considering the Reds I think start at about 8:1??

          • Can’t reply in the right place, Simon, so I’ll do it here.

            Red starts at 3:1 if you´ve the right mag. I´m not a CG specialist, but whenever I’ve encountered Epic for chroma work it’s usually been due to budget issues. As said, I’m nowhere near a CG dude.

            Gravity was Arriraw, Hobbit was Epic. Who’s best? I have no idea whatsoever. Probably Epic was choson for the Hobbit as the Alexa M wasn’t ready at the time and it’d have made 3d rigs humongous?

          • Red was used in The Hobbit because Peter Jackson likes the camera. He will be using the 6K Red Dragon ASAP.

    • An Alexa HD can be upgraded to an Alexa Plus, too.

    • Bitrates are a *very* important point. I’d like to see the entire pipeline upgrade bit-depth (in terms of both resolution and color fidelity) before/along with general resolution upgrades. Though it all takes fatter pipes…

  • Yet another beautifully crafted piece engineering designed with the operator at the center. Arri is, always and without exception, two steps ahead of everybody else. Light, ergonomic, with the best sensor in the world, and with Arri’s stamp of excellence.

    It’s got everything going to conquer the world. Well done!

    • I think someone drank the coolade :)

      Look past the logo and you will see there are a lot of others with excellent sensors that have been doing digital a lot longer and look equally as good if not better. They just may not have the same w#&k factor when you say you shoot with an Alexa etc.

      • Passionate and excited about the world’s oldest and most respected film equipment manufaturer’s new camera?

        OF COURSE

        I like to spend my time on set creating images, not translating menus and suddenly realising that in order to do A I need to deactivate B. Or that if I don’t select C in the submenu hiding under the submenu of the submenu of the submenu, my DR is suddenly 5 stops less whilst the camera keeps quiet and laughs at me in the corner.

    • Best sensor? Nope. It’s very good but Sony fabs the best sensors.

  • Wow, amazing to see all this crying about a pro camera that most of you will never even see let alone work with. Crying about 4K/8K – again largely from a crowd that can only dream to ever produce something that will genuinely need 4K. And what about the guy suggesting buying 6 black magics and building a TV studio :-D :-D :-D Sorry for sounding perhaps a bit harsh, but wake up guys, your world view is seriously misguided!

  • Haroun Souirji on 01.31.14 @ 12:20PM

    The problem here is that many people are seeing this as a camera to own while it is mostly a rental item anyway. Buying one would surely be a bad idea because it is limited in resolutions and format. But for specific purposes it still is competitive. For example: I am hping to shoot an extreme sports TV series in tropical places later this year and for that I only need 2k 422 10bits, high frame rates and a solid reliable camera. At 33k€ for the system it is going to be rented only slightly more expensive than an F55 kit. For that specific project why would I rend the F55 over a camera that is (probably) more reliable and gives me a more pleasing image? Other than maybe high iso capabilities.
    Also many seem to think everybody works with the same budget as they to. To read that “documentaries are not filmed with 40k$” is ridiculous. Do you think that Planet Earth or Africa is are shot with a C300 or an FS700? There is a level of production that only wants the most reliable and solid system, whatever the costs.

    • Well, if you are shooting Planet Earth stuff, there is no need whatsoever for Arri image…

      It is all about contrast, resolution and realism. And when it comes to realism, F55 (even with only internal) 4K blows Arri Amira away.

      If you are renting for high quality nature stuff etc., why would you rent Amira when you can get Sony F55 with 4K for same price ?

      • Haroun Souirji on 01.31.14 @ 2:21PM

        I understand what you say but for the example of Planet Earth I think that you actually do not want that “video” hyper realistic image. You want a soft more cinematic image. Cinematic is not exclusive to fiction (reason why Ron Fricke has delayed digital in his work). Every footage of the F55 I see (I have downloaded lots of footage, included 4k raw) is indeed hyper realistic and it’s maybe why I am not such a fan of it. But I should have it for a few days with Ultra Primes in a few weeks and will make my own tests.
        Now when it comes to rental I am talking about jobs where you WILL NOT use 4k. For example for the documentary I plan to make 2k is what I am going for. So 4k aside I must choose based on build (no camera repairs in the jungle) and image so the Amira sounds pretty sweet to me for those works…

        • Yes. Obviously image is matter of taste. About the F55 material, well:

          Mpeg2 SLOG2 422 proxy:

          4K raw with ACES 1080P:

          1080P Mpeg4, no grade, ACES, download best version:

          Same as above, some grade, download best version:

          240 FPS 2K RAW, with Pro production, 1080P final output:

          In the last clip, the parts with lady walking in grass and standing under the tree, I really do not think you can get much better stuff out of Alexa.

          Oh, and finally a commercial with really nice grade, (done with F55 / FS700):

          and biggest video shot with F55 to date:

          • Haroun Souirji on 01.31.14 @ 4:07PM

            I must admit some of the examples got me quite excited to test the F55… did not feel hypnotized from any of them like I have been with many Alexa videos and I think it might be the highlight rolloffs. But for sure when I get to the point where I’ll need to buy a camera in that price range F55 will be very high on the list. But for rental… will see :-)

          • Haroun Souirji on 01.31.14 @ 4:48PM

            Ok I only saw the video “Sony F55 ACES (Flat ACES)” now as it had to download. Well that one really sold me the F55. VERY NICE STUFF :-)

      • Exactly.

    • There are only a handful of those docos.. And yea, many docos get shot on the C300 and even worse, XF100. Actually most docos out there are being shot with either a Canon XF300, Sony PMW200 or Panas P2 cams. You or maybe Arri have no idea what docographers need. DR is the least of the worries.

  • Chris K Jones on 01.31.14 @ 8:03PM

    Arri have undoubtedly built a cracking bit of kit, but as the BBC requires me to shoot HD in XDcam at 50mbps on my sony F5 I doubt many will see the point in this level of camera for TV and Doc for some time yet.

  • Matt Allard makes a very convincing case against the Amira:
    “But what about ARRI’s famous image quality? Wouldn’t that do it for me? Honestly, I don’t think it is going to matter unless you are going to the big screen – on TV, after a ton of compression for HD broadcast, I think you struggle to tell the difference between Alexa/Amira, C300, C500, F5 or F55. All the main competitors when you reach a certain price/performance level are good enough to create results that have a ‘wow’ factor ”

    He goes on to expound, and it really makes sene. That fables Alexa colour science is NOT REQUIRED for the delivery pipeline of documentary and television.

  • ARRI as a privately held and relatively small company is doing well at times where many other companies struggle to make profit and survive. I believe the reason for that is that ARRI is not a business in the first place but a part of the industry. ARRI simply does want to sell the best quality kit available to professionals – and quality and service comes to a price.

    Surely – not everybody will want to afford that – but I have not come across a single person who was generally unsatisfied with ARRI cameras or unhappy about investing in ARRI kit . Complains here and there about details, sure – but 99,99% of people I have met are satisfied to a degree that I have personally never seen anywhere else during my entire career.

    The driving force behind ARRI’s economical success simply is peace of mind – which is priceless – and AMIRA does have that same DNA.

  • While everyone else is democratizing the art of filmmaking, Arriflex is trying to make sure it remains expensive. Great move!

    I’m quite sure independent filmmakers will still find a way to make feature films without the expense of an Arri.

  • Does the prices on the 3 packages of Amira include a zoom lens? Does anyone know what is included in detail?

  • NAB leaks

    Resolve 11 is a full function NLE as well as the usual CC
    BM will launch another camera, this time one that looks more like a camera
    AJA will launch both a camera and a LUT box
    BM to launch film scanner, small and inexpensive

    ARRI will not sell a 65mm 6k camera, note emphasis on sell.

    There is a date floating around for the release of a higher res Alexa but I’m not posting it because I think it may be meant as a distraction.

    Sony to show ENG rebuild of the F5

    from BMCuser / CML

  • I see arri releasing for sale an Alexa 4K for over EUR 100K, and then keeping a 6K alexa in-house for rentals to super high-end films.