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Novedades del SUP 2.0
4K UHD license and calibration
AMIRA SUP 2.0 will be released very soon, after which the 4K UHD license will available at the ARRI License Shop. In order to use the 4K UHD functions activated with the 4K UHD license, cameras manufactured in 2014 will require a 4K UHD calibration. To provide as smooth a path as possible for our customers, we would like to offer the following:
For cameras not yet 4K UHD calibrated, the calibration is included in the EUR 490 purchase price of the 4K UHD license.
If you are not sure whether your camera is already calibrated for 4K UHD, there is a general rule: cameras manufactured in 2014 DO NOT include a 4K UHD calibration, whereas cameras produced in 2015 typically DO. Please bear in mind, however, that the date of manufacture is different from the delivery date. If in doubt, you can check the calibration status of your camera at the ARRI License Shop:
Go to the ARRI License Shop (alshop.arri.de/catalog/amira_licenses) and select the 4K UHD license.
Upload the “HW-info” file of your camera when asked to do so
(see alshop.arri.de/index/aboutipkgamira for more details).
Once uploaded, “Calibrated” or “Not calibrated” will be shown.
If your camera is not calibrated, there will be a link to log a service request with an ARRI service center, for those whose camera was purchased direct from ARRI. If you purchased your camera from a dealer, please contact the dealer to proceed.
You can purchase the 4K UHD license at the ARRI License Shop at any time, whether your camera is calibrated or not. However, it will only be possible to activate 4K UHD recording once the calibration has been completed and SUP 2.0 has been installed.
Viewfinder upgrade for eyepiece and approach sensor
We have received feedback on the performance of the AMIRA viewfinder, relating to how much flexibility operators have to position and move their eye on the diopter while maintaining a clear image. This has led us to upgrade the lens system used in the eyepiece and to improve the position of the approach sensor (which turns the OLED off when not in use).
The offer of a free viewfinder upgrade for AMIRA cameras purchased after IBC 2014 has been extended. It will remain in place until the new viewfinder eyepiece has been completely phased into production.
You can determine whether or not your viewfinder is upgradeable by looking at the MVF-1 serial number. If your serial number is 2150 or below, you have the original eyepiece and approach sensor, so your viewfinder can be upgraded. If your number is 2151 or above, you already have the new eyepiece and approach sensor, so you don’t need the upgrade.
Customers not meeting the requirements for a free viewfinder upgrade can purchase the upgrade and then claim a voucher for the net amount (excl. VAT), redeemable against a purchase of further AMIRA cameras or parts (excl. CFast 2.0 cards) within six months of the upgrade. For the full terms and conditions of this offer, or to go ahead and order the viewfinder upgrade, please contact an ARRI service center (if you purchased your camera directly from ARRI) or your local dealer (if you purchased from a dealer).
New audio board (IAOU2)
We have received reports from the field that the AMIRA’s audio line input level has proved to be too low for certain applications. In order to allow higher input levels with the line audio input, a new extended audio board is now available for upgrade. This new audio board allows +24dBu input level in addition to the +8dBu of the current board (users can switch back and forth between the two). It also allows the Headphone Out to be looped through a connected mixer. The new audio board is available at ARRI service centers as a chargeable upgrade for EUR 690.
New shoulder pad
Some users have reported that the original shoulder pad of the WPA-1 seems very hard and is not perfectly comfortable in certain situations. We have therefore made a new version, which offers improved ergonomics and a larger, softer pad. This new shoulder pad is now available for upgrade. It can be ordered as replacement part K2.0003675 from ARRI service or ARRI sales, at the price of EUR 95. Installation of the new shoulder pad on the WPA-1 can be performed by the customer.
Featuring the same sensor and exceptional image quality as the ARRI ALEXA, AMIRA records superior HD 1080 or 2K pictures that are suitable for any distribution format. With a dynamic range of more than 14 stops, low noise levels, subtle highlight handling, natural color rendering, breathtaking skin tones and speeds of up to 200 fps, AMIRA will deliver stunning, life-like images.
AMIRA records Rec 709 or Log C images using ProRes LT, 422, 422HQ or 444 codecs. Camera speeds of up to 200 fps allow full-quality slow motion pictures of staggering clarity and detail to be captured. By recording to in-camera CFast 2.0 flash memory cards with super-quick data rates, the route into postproduction is made as simple as possible. CFast 2.0 is an open format, delivering a fantastic price-performance ratio through incredible transfer speeds, long recording times and compatibility with standard IT tools. Costs per GB are brought right down and higher-than-broadcast-quality image pipelines are made available even to low-budget productions.
AMIRA has a minimal start-up time and can be used straight out of the bag by a single user, without delay. Sliding dovetails allow the camera to be perfectly shoulder-balanced for comfortable handheld shooting, while the innovative multi-viewfinder combines a high resolution OLED eyepiece with a fold-away LCD monitor that provides both a live view and full access to camera functions.
On set or on location, AMIRA boots up quickly and can be used straight out of the bag by a single user, with no setting up, no rigging and no delays. In the time it takes to lift the camera to an operator’s shoulder, it will be ready to record, making AMIRA perfect for ‘run-and-gun’ shoots where the action is unpredictable and the camerawork responsive. Integrated, motorized ND filters as well as zebra and false color tools aid exposure control, while an advanced peaking function makes accurate focusing easy and swift.
User comfort and control are fundamental principles of the AMIRA concept. Sliding dovetails allow the camera to be perfectly shoulder-balanced, whatever combination of lens, microphone, accessories and battery happens to be in use. A super-slim waistline means AMIRA can be tucked in close to the operator’s center of balance, helping to make it comfortable for handheld work over extended periods – a vital requirement for single-operator projects and ENG shoots.
Access to switches and configurable user buttons is quick and intuitive, with the most frequently adjusted settings and functions being the fastest to locate. An innovative multi-viewfinder makes life even easier for the single user by combining a high resolution OLED eyepiece with a fold-away LCD monitor that displays a live image when the eyepiece is not in use and also provides full access to camera functions, without AMIRA having to be removed from the operator’s shoulder. Flexible multi-channel audio options are accessed from the camera right side, again minimizing disturbance to the camera operator. An integrated WiFi interface will further expand camera control options.
Uniquely, AMIRA comes with a number of preloaded 3D LUT-based looks that can be applied while filming. Alternatively, productions can custom-build their own 3D LUTs in external color grading systems, load them into the camera during prep, and even modify them in-camera on set. This gives cinematographers and directors a greater degree of creative control on fast-moving productions, while keeping postproduction costs down for producers.
In today’s environment of cut budgets and shortened schedules, many television productions do not have the luxury of spending significant time finessing a look in postproduction. AMIRA is unique in that it comes with a number of preloaded 3D LUT-based looks that can be applied on set during the shoot. Alternatively, productions can custom-build their own 3D LUTs in external grading systems, load them into the camera during prep, and even modify them in-camera while filming. This is a highly cost-efficient way of creating bespoke looks, saving time and money by minimizing the amount of grading work required in post.
The preloaded LUT feature essentially amounts to in-camera grading; it allows cinematographers to craft a consistent, identifiable visual approach, even on small-scale productions that cannot afford to pay them to attend the grade. Documentaries, dramas and commercials often involve a number of contrasting looks for different narrative or thematic elements. With AMIRA these looks can be created before the shoot and either ‘burned in’ to the recorded footage or used purely for monitor imaging. Either way, they give film and program makers a greater degree of creative control on fast-moving productions.
With 3D LUTs, literally any look that can be imagined can be created. They offer unlimited flexibility in image or color processing, opening up a whole world of personalized emotional expression. Besides the 3D LUT-based looks, many individual modifications of the image can be implemented on set, including those familiar to 2/3” ENG-style camera operators, as well as classic cine-style adjustments. Through simple menus, parameters such as CDL (offset; slope; power; saturation), white balance, knee and black gamma can be tweaked, allowing a perfectly graded Rec 709 image to be recorded or outputted by AMIRA. Alternatively, Log C recording facilitates a standard grading workflow.