ARRI Multicam System
Truly cinematic multi-camera live productions
Cinematographers strive for a cinematic look; producers seek efficient and flexible workflows. When it comes to live, multi-camera productions, these requirements can conflict. ARRI’s response is a simple-to-integrate fiber transmission system developed in partnership with specialist firm DTS. The combination of ARRI cameras and the 1800 fiber backend delivers a cinematic aesthetic with the efficiency of a live transmission system.
Customers can record in-camera for post, finishing, or slow-motion effects, while simultaneously transmitting live HD or UHD/4K signals to a broadcast facility, stage displays, or social media channel, using standard production environments like OB vans or studios. The ARRI Multicam System knits a variety of components together to give program-makers flexibility tailored to their needs.
ARRI Multicam System Features
Efficient and flexible system
- Live HDR in PQ or HLG, according to Rec 2100
- Wide color space according to Rec 2020
- 4K UHD recording and outputs
- Long transmission distance, up to 2 km incl. power
- Tally interface
- Intercom channels
- Return video interface (AMIRA only)
- Prompter channel
- Genlock support (AMIRA only)
- Slow-motion application with onboard recording
Look Library looks and 3D LUTs
- Look Library looks and 3D LUTs (with 33 mesh points and additional metadata) can be loaded, used, and modified using the Sony or Skaarhoj RCP
- ARRI Color Tool enables very precise and sophisticated color adjustments
- Easy color matching of cameras and creation of specific, high-quality looks for multi-camera productions
The best of HDR
- ARRI digital cameras have always been HDR capable – an important consideration for broadcasters contemplating how the industry might progress beyond HD TV
- 14+ stops of dynamic range is the perfect starting point for HDR distribution in either Dolby PQ or HLG formats, as defined by ITU-R BT.2100
- HDR with ARRI cameras allows an even better overall image quality – higher contrast, with deeper blacks and brighter whites; more vibrant colors; more depth; a sharper image with more detail; and a larger range, which makes more looks possible
AMIRA Live
The first choice of camera for ARRI Multicam applications is the AMIRA Live, which is designed specifically for multi-camera live productions. Instead of several external cables linking the camera to the fiber backend, AMIRA Live internalizes these cables, making for a much cleaner camera configuration. Combining system camera efficiencies with the cinematic image quality of ARRI’s Super 35 format sensor, AMIRA Live is a unique and exciting option for broadcasters.
AMIRA Multicam Setup
AMIRA Multicam easily can be integrated into existing infrastructure, providing interfaces with, for example, PGM Return, Tally (green/red), and Genlock. The system will work with fiber-based transmission types like DTS, Ereca, Protech Nipros, MultiDyne, Sokong, and Telecast, allowing the transport of all video and data signals over a single SMPTE-311 fiber cable, providing power, as well as Wireless (RF) and Ethernet/BNC cable connection.
It also allows for on-board recording of any format, including LogC on CFast 2.0 cards in parallel to the live SDI output. LogC recording allows for the retention of all image information throughout the production process but also gives the option of transfer to a color space target either within the camera, or at any later stage of the production process.
The AMIRAs are controllable with industry-standard Sony Remote Control Panels (RCP’s), which allow technicians to continue to use the tools they are comfortable with. So, the system allows Sony RCP image parameter and iris control for ENG style PL and B4 lenses, and EF lenses; and cine style lenses (with cmotion broadcast camin). Parameters include: Auto Iris, Black R/G/B, Master Black, White R/G/B, 5600K Override, Auto White Balance, White Balance, ND filter selection, Detail, Shutter, ECS Shutter, Master Gain, Gamma R/G/B, Master Gamma, Master Black Gamma, Master Knee, Saturation, Scene Files, Call and Color Bars.
A more flexible RCP operation is offered with the Skaarhoj RCP V2, which additionally supports access to all relevant camera parameters through the ARRI Camera Protocol CAP.
The best HDR results, even in SDR
Scenes with a high contrast range, which are not possible to capture with conventional broadcast cameras, can be recorded in all their detail thanks to the high dynamic range of the ARRI image sensor, even in SDR/Rec. 709.
Quotes
The DFB Cup Final is an absolute highlight for TVN every year. In 2021, we used an ARRI ALEXA Mini camera for the first time; it delivered images with an individual look that captured emotions particularly well. With the ALEXA Mini, we can offer directors an additional option to further enrich the show for the TV audience.
Bastian Berlin, Head of Sales at TVN Mobile Production
The ARRI cameras have left an amazing impression on me, because of their incomparable quality. The brilliance, the depth of field, and the images are unique to such an extent that the whole crew had to adapt.
Rolf Sturm, TV director (BVR)
I was thrilled by the extraordinary color fidelity of the ARRI cameras, and how they handled high saturation. You have greater creative opportunities, as the AMIRA Live has many more capabilities than classic broadcast cameras, and it is also more forgiving.
Thomas Gerdon, Director of Photography, GERDON DESIGN GmbH
Using the unparalleled dynamic range of the ARRI cameras on a challenging live production gave us flexibility to create the ultimate look for our show. On night shots, with a never-ending city of lights in the background, that high dynamic range gave us something that no other camera in the world can capture so beautifully. The impressive color space, range, and never-doubtful performance of the cameras truly contributed to a cinematic style.
Remco Evers, executive creative director NOMOBO.TV
I was able to help design “Thadeusz and the Artists” from the beginning and was very pleased that instead of the usual 2/3" broadcast cameras, we used four ARRI AMIRAs. The setup was intuitive and absolutely suitable for a fast-paced talk show with a lot of quick changes. Even looking through the viewfinders it was clear that we were getting a completely different, cinematic look, which is unheard of on a talk show. I am happy that ARRI offers its cameras for TV formats and would be eager to work with this setup again on the next production.
DP Fabian Welther
The most important advantages of AMIRA are definitely the picture quality and its versatility. In the past, our cameras were separated between Multicam or reports on the one side and image films or scenic productions on the other. Now we no longer need two types of cameras, only the AMIRAs.
Andreas Schech, founder and head of VPS Media
We love using the AMIRA Multicam, because of the outstanding images the AMIRAs capture - and the high-standard build of the camera. Technically, the DTS fiber system brings you all the features you expect, and so we can create a really good workflow.
Thomas Bischofer, Ruptly’s Head of Production, creating coverage for FIFA
We’ve had a very good experience with the AMIRA Multicam system. It gives me access to the cameras via the network, which enables me to see the camera from the top of the control room and operate it via remote triggering. The cameras also internally record as a back-up. We have a much higher dynamic range, which is definitely noticeable in the picture. And since the studio has been completely converted to LEDs, which can also be used to produce colored light, the camera already have a great look, without us having to add a lot of look.
Joachim Richerzhagen, BTF, shooting „Neo Magazin Royale“ Show for ZDF (Germany’s national public television broadcaster)
