ARRI Multicam System
Truly cinematic multi-camera live productions
Truly cinematic multi-camera live productions
Efficient and flexible system
Look Library looks and 3D LUTs
The best of HDR
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.
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 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
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)