As the name suggests, it's centered around the AMIRA, a Super 35 cinema camera, but has been reconfigured for live productions. The new setup includes updated software, a new fiber optic backend, and the VMM-1 onboard monitor offering a slick combination of ARRI's stellar color science and cinematic images for multi-camera shows.
What stands out about the AMIRA Live is that ARRI managed to eliminate the external cables between the camera and back end. To transmit live broadcasts, cameras typically use a SMPTE 311M transmission signal. The previous design of AMIRA required all the cables to be external. With more cables, there's a chance of them being disconnected or getting in the way. The new design eliminates the use of external cables completely, allowing for a cleaner camera configuration for operators.
VMM-1Credit: ARRIAnother addition is the VMM-1, a 10" onboard monitor that connects directly to the camera viewfinder. Or it can be daisy-chained with the Camera Control Panel CCP-1. The viewfinder features controls for contrast, color, backlight, and peaking as well as a on/off switch for the tally light and two camera user buttons to store settings. The monitor comes with a quick-release yoke bracket (Monitor Yoke Support MYS-1) designed for the VMM-1 and multi-camera setups.
Putting it altogether is the latest software from ARRI, SUP 6.1. The firmware adds a ton of multi-cam functionality support by improving noise reduction, increasing sharpness, and speeding up the boost time. It also adds an intercom talk-back feature via the VTR or user button for shoulder work.
Credit: ARRIARRI also says the multi-cam system is controllable with industry-standard Sony RCP (Remote Control Panels) and supports Sony RCP image parameters and iris control for PL, B4, EF, as well as cine-style lenses. With cine-style lenses, there's no need for direct RCP iris control via cforce RF monitors.
This is big news for those in the broadcast world who are interested in moving beyond cameras that use a 2/3” sensor. You can now jump into Super 35 with cinematic lenses, and ARRI's renowned sensor. Not bad, ARRI. Not bad at all.
While most productions will be renting these types of setups, ARRI has provided No Film School with pricing for different packages.
AMIRA Live Camera Set - $31,180
- KK.0038511 AMIRA Live Body (incl. CL kit K2.0023813)
- 10.0001093 AMIRA Advanced License Key
- 10.0003723 AMIRA 4K UHD License Key
- 10.0014641 AMIRA ARRI Look Library License Key
The camera set does not include a viewfinder, lens mount, or camera base mount. You can order those separately, same as with the standard AMIRA camera set. The AMIRA Advanced license can be upgraded to the AMIRA Premium license with the “AMIRA Advanced to Premium license.”
There will also be an additional K0 including the Premium license.
AMIRA Live 1800 Camera Chain Set - $24,140
- K2.0039137 1820-12G DL6G CL FCA Set (incl. Lemo cnnctr. K2.0014813, DL6G opt. K2.0014659)
- K2.0038531 1800 AMIRA CL Frame Mount (1820-060-251)
- K2.0022568 1810 1U Fiber Base Station FBS 4x3G SL12G (1810-U12GSL 1U, incl. single 12G option board 1807B, ERI, PSU & Lemo connector)
- K2.0022570 1800 1U FBS Cable Set
- K2.0016149 1820 Cord Control Pod - with XLR5S connector
Multicam Monitor bundle VMM-1 & MYS-1 - $5,980
- K2.0023813 Video Monitor Multicam VMM-1
- 1x K2.0012223 AMIRA to CCP-1 Cable 0,75m/29in
- 1x K2.0009336 ALEXA Mini to CCP-1 Cable 0,75m/29in
- 1x K2.0037711 VMM-1 Power Cable 0.4m/16in
- K2.0037636 Monitor Yoke Support MYS-1
You can find out more about ARRI Live over on ARRI's website.