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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Arri launch new Camera at IBC, Alexa Amira.

Originally Posted by Evin Grant:
To me the Alexa image is just boring.

Reply posted by Jake Blackstone:
I can say the same thing about a beautiful woman. Who needs them?:-)

My thought:
Me. I could stand to be bored this evening.
 
Evin Grant said:
If I had to list the reasons I see in order of frequency...
1. Ease of use/familiarity for those used to film cameras
2. Workflow simplicity (Prores only, which makes up 90% of Alexa shows).
3. Brand loyalty and or bias
4. Aesthetics or image quality
Click to expand...


Sounds to me like you're talking about two things without actually saying them - reliability and wide support. "Brand loyalty" is a factor, but the reason for brand loyalty is good past experience, and that usually relates more to reliability and/or support than anything else. "Workflow simplicity" to me means wide support for whatever format you're going to be using and instant familiarity for whomever has to deal with it in post on whatever they're using. But having said that, I have to admit that in my experience, the camera choice, at least to the degree that it's made by the cameraman, has never been about post considerations, workflow or otherwise, beyond "how long will it take to copy this stuff" because that relates to making the day. Maybe your experience is different.
 
M Most said:
Sounds to me like you're talking about two things without actually saying them - reliability and wide support.
Click to expand...

Perceived reliability, I've had at least twice as many Alexas go down as Epics (Still a small number total for either), and I've never had an Epic ruin footage but I have had an Alexa that decided it wanted to randomly write some files in a blocky 1/8 resolution for some reason. The interface is simple, the user experience is comfortable and the images are pleasing that's a plenty compelling reason to shoot the Alexa.
I personally prefer to use a higher performance camera and put the time and energy into getting the most out of it.
 
At 10-12k I'd be interested simply to rent it out to other people and use it sometimes.

At 20k, not interested because I already have an ostensibly better performing camera which has already paid for itself.

Still, I have to say the ergonomics are pretty damn cool. viewfinder seems neat... Why it can't shoot true raw at 1920x1080 to CFast is beyond my feeble mind.

Stupid name though.
 
I think the reason that The Amira or Alexa won't record raw to CFast is the same reason that the Epic won't record raw to CFast: perceived value & the R&D costs of proprietary technology already in place.
 
Justin Kirchhoff said:
Field ENG type camera. They went back 20 years to pull ergonomics from old school Beta cams...
Click to expand...

Yes because it works really well for doc / ENG. I just wrapped a 7 day run of doc shooting w Epic and Scarlet. My torso, arms, shoulder, have gouges, bruises and missing skin from all the hard parts digging into me. I have to keep t-handles and screw drives in pockets at all times to re-config for shoulder, hand held, sticks, floor. I'm constantly fussing with the camera and endless nest of cables and aks to get the interview, get the b-roll, get the unplanned spontaneous moment. Most small docs you have to shoot, light, manage media, often even audio, solo. This is extremely difficult with a cinema camera design.

I love my Red, I've been in the Red workflow since the first 100 cameras. But I hope the Amira is priced where I can justify adding it to my owner / operator inventory.
 
Dan Kanes said:
. Why it can't shoot true raw at 1920x1080 to CFast is beyond my feeble mind.
.
Click to expand...

Well, for one thing, "true RAW" can't be 1920x1080 unless the sensor is 1920x1080. RAW is a record of the sensor, pixel by pixel. If the sensor is 2880x1620, that is what the RAW file is going to be. What is output after an in-camera debayer process can be anything the manufacturer wants to make. In the case of Amira, that would be Prores encoded files at either 1920x1080 or 2048x1080. Arri has not included RAW recording on this camera because the point of the product is to deliver images that don't have to be processed. If you're interested, you should look at their website, it makes the product intent pretty clear.
 
Justin Kirchhoff said:
Field ENG type camera.
Click to expand...

True. That does fill a market niche.
Run and gun is different than studio, high end EFP and feature work.
When the camera can move from the bag to your shoulder in seconds and be operational in the same time span - big plus for news, documentary, sports and such.
As "broadcast" moves more and more to OTT, they need to look to improve their capture - this is one step in that direction.

Justin Kirchhoff said:
They went back 20 years to pull ergonomics from old school Beta cams...
Click to expand...

True.
Camera ergonomics are an important consideration for many shooters. Some things just work. Nothing wrong with that if it matches the shooting style.
Same happens with lenses - some PL mount glass now have hand servo's just like the old ENG lenses.
Same happens with other AKS - aren't those new wood grips like the old Aaton style desired by many?



My early criticism is that they did not make this a 2/3" or S16 versus full sensor.
Most of the market for this camera would not be after shallow DOF. News for example, does not want blurred backgrounds. The reporter wants the fire or crime scene behind them in focus while they report the story. Do you really want to follow focus a basketball player dribbling down the court? Or following a cheetah knocking down it's prey?
Sometimes as much as possible in focus is desirable...

For those that would use this camera for indie films, the huge inventories of ARRI Ultra Primes in the 16mm format would have been resuscitated. Not to mention all of the other glass being left behind.
 
Brian F Kobylarz said:
True. That does fill a market niche.

My early criticism is that they did not make this a 2/3" or S16 versus full sensor.
Most of the market for this camera would not be after shallow DOF. News for example, does not want blurred backgrounds. The reporter wants the fire or crime scene behind them in focus while they report the story. Do you really want to follow focus a basketball player dribbling down the court? Or following a cheetah knocking down it's prey?
Sometimes as much as possible in focus is desirable...
Click to expand...

Well said Brian.... one final thought from here. There are many 2/3" ENG camera options. I would not be interested in owning the Amira if it was small sensor. I shoot commercials, promos, documentary, industrials, the people that make the hire decision want big sensor, ready to edit and air media on the spot. I want PL and Canon mount, field swappable day to day.
 
Brian F Kobylarz said:
My early criticism is that they did not make this a 2/3" or S16 versus full sensor.
Most of the market for this camera would not be after shallow DOF. News for example, does not want blurred backgrounds. The reporter wants the fire or crime scene behind them in focus while they report the story. Do you really want to follow focus a basketball player dribbling down the court? Or following a cheetah knocking down it's prey?
Sometimes as much as possible in focus is desirable...
Click to expand...

Fair enough, but I don't think that Amira is aimed at TV news... Amira's playground is documentaries. But I'm already thinking of how many more formats this cam can be used. TV shows, doc series, TV commercials, music videos, web content, etc... I think this camera is going to sell like popcorn.

Having 444 instead of Raw, in my view is not that much of a issue, at all. If you know what you're doing, 444 will give you more than you will ever need to do in post.

One thing is for sure, documentaries are about to look a hell lot better!
 
António Fagundes said:
Having 444 instead of Raw, in my view is not that much of a issue, at all. If you know what you're doing, 444 will give you more than you will ever need to do in post.

One thing is for sure, documentaries are about to look a hell lot better!
Click to expand...

Yes. sir.

I'm super pumped about this camera. Would I rather have a Scarlet with the same ergonomics/ NDs / Audio / Log-capable / FPS ? Sure. But the Amira looks like it checks all the boxes and the only other camera I see doing that for documentary specific work is the F5, but the F5 looks way worse "aesthetically" than RED/Arri so now I've got what I need.

If it does end up as $25k street it's going to be a new era for documentary filmmakers.
 
Though not verified by a second source, I was just informed by a friend of mine that owns an ALEXA, that the AMIRA will have interchangeable lens mounts - including a B4 option.

As I said, not verified, but if true, anyone know a good marinade for crow meat?
 
Hello David,

I think your setup is not the best one and you can improove it. My setup is 8.3 kg with à 190wh battery that can run 3 hours+ with an arrow for the.director and I go from.hand held to sticks in 5 seconds. I ll post some pictures.

Pat

Ps shot à.feature of 6 weeks witout AC and took over 20 planes in the Amazon and Peru.
 
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