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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.