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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]

Related Posts

  1. ARRI AMIRA: Same ALEXA Sensor in New Lower-Cost ENG-Style Body, Shoots 2K & Up to 200FPS
  2. The Perfect Documentary Camera: A First Look at the ARRI AMIRA
  3. ARRI's New ALEXA HD is a 'Budget' Version of the Industry-Leading Digital Cinema Camera


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Description image 122 COMMENTS

  • 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.

  • 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.

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