I went to a rental house event for AMIRA. There was a rep there with the camera. Long and short is, if you want that ALEXA ProRes look, it just got cheaper to rent, around $1K-Day, at least in my town.

It's an awesome little camera. Build quality of course is incredible. Other camera makers need look no further for an ergonomics/durability benchmark.

In terms of buying one though... I'd be waiting to see if they do any further versions (full gate for example)... And I myself would be suprised if ARRI's next platform isn't 4K. They preach quality over quantity in the photosite department, but they can't ignore the fact that even Broadcast is soon going to take the resolution high-road.

All in all ARRI won me over. I've been to a big RED event, and I've handled Sony's higher end stuff too. They all charge big bucks, but AMIRA is the first one where I said, "yeah, this price tag is completely justified."

PR

A new software upgrade for ARRI’s documentary-style AMIRA camera will allow it to record ProRes UHD files, answering the 4K requirements of some productions. The upgrade is expected to be available for purchase at the online ARRI License Shop by the end of 2014.

DELIVER ANY FORMAT

While widespread adoption of 4K or UHD for broadcast is still a long way off, an increasing number of content owners are becoming concerned that they ought to safeguard the longevity of their programs by ensuring that they will be suitable for UHD transmission, should that become a standard in the future.

For those productions that do need to generate UHD deliverables, AMIRA will now offer the ability to record all ProRes codecs in Ultra High Definition 3840 x 2160 resolution directly onto the in-camera CFast 2.0 cards, at up to 60 fps. This feature, activated through an affordable software license (and a sensor calibration for existing AMIRAs), comes in response to feedback from AMIRA customers, some of whom have been quizzed about 4K deliverables by clients. It is made possible by the camera’s exceptional image quality, its processing power, and its reprogrammable system architecture.

Whether a production is pursuing a UHD workflow all the way through to distribution, or simply wishes to archive in UHD in order to future-proof itself against industry developments, AMIRA now offers an easy solution that requires no additional processes in postproduction.

IN-CAMERA PROCESSING

The ALEXA/AMIRA sensor has repeatedly proved its ability to deliver outstanding image quality for the 4K or even IMAX theatrical releases of high-end feature films such as Gravity, Maleficent and Iron Man 3. This proves that the ALEXA and AMIRA camera systems are already future-proof and more than suitable for the next generation of distribution formats.

For major feature films, an up-sample to 4K can be carried out after visual effects and other postproduction tasks have been completed at 2K resolution. For certain fast-paced AMIRA productions, however, there may not be the time or resources for such processes in post, which is why a 4K or UHD output direct from the camera has been requested.

AMIRA’s UHD output utilizes the same efficient 1.2x up-sample filter that allows ALEXA’s Open Gate mode to optimize the camera’s image performance for 4K distribution, as well as the same best-in-class sensor pixels. The up-sample to UHD happens in camera, and in real time.

SAME GREAT IMAGE QUALITY

Outputting UHD broadens the distribution options for the superior image quality that has helped make AMIRA, and ALEXA, such a success. The wide, 14+-stop dynamic range remains unaltered, as does the accurate colorimetry, natural skin tones, and organic look and feel. By making that high-quality image data coming out of the sensor compatible with higher spatial resolution formats, the UHD upgrade answers the concerns of certain regions and productions about a 4K future, allowing AMIRA to be used on any project, no matter what deliverables are required.

Markus Duerr, ARRI’s Product Manager for the AMIRA system, says, “Feedback about AMIRA from all over the world has been overwhelmingly positive and it is clear that the camera is already a great success, being used on an amazing variety of challenging productions. Already acclaimed for its phenomenal image quality, ease of use and versatility, the new ProRes UHD output will take these benefits even further, adding value for customers in areas like China, where 4K is a major focus of industry attention.”

Wildlife cinematographer Rolf Steinmann, who was nominated for an Emmy Award this year in recognition of his work with ALEXA on the BBC’s Wild Arabia series, is currently using his AMIRA on a movie for Disney Nature. He comments, “For cameramen like me who own their gear, the UHD upgrade is a great way to stay future-proof. From now on when there’s pressure from the production side to deliver UHD, I can continue to work with AMIRA and won’t have to compromise on image quality or on the camera’s robustness and reliability.”

@niki - That's ridiculous. I know an Alexa owner operator that comes with his gear. All he needs is an assistant. Being that he knows his cam, he really doesn't need a DIT, unless client demands on set dailies. There are many more like him. The number of guys that you "have to book" on a shoot is dependent upon the shooter. In this scenario, you are still coming well under the costs of the $1 /sec for film's output. I loved film, used to shoot a lot of 35 and some 16. It's just not practical on most shoots.

Arri AMIRA Camera - Setup Guide and Overview

AMIRA Software Update Packet (SUP) 2.0 is now available for download free-of-charge from the ARRI website. The major new feature enabled by SUP 2.0 is 4K UHD recording, which must be activated through the purchase of a 4K UHD license at the ARRI License Shop

http://www.arri.com/camera/amira/downloads/

I am surprised about the ugly color moire of the RED. Outch!

Nice to see the F3 hanging out with much much much more expensive cameras! :-D