Tag Archives: Amira

Arri updating Amira software to include 4K UHD, MPEG-2 MXF recording

Arri has released Software Update Packet (SUP) 2.0 for its Amira cameras, and announced the subsequent release of SUP 3.0, which is scheduled for release in mid-2015. The former unlocks 4K UHD recording for high-resolution pipelines, while the latter enables MPEG-2 MXF recording for streamlined, broadcast-friendly workflows.

The Amira targets productions ranging from documentaries, news reporting and corporate films to TV and low-budget movies. These two major software updates respond specifically to customer requests and industry trends.

The key new feature of Amira SUP 3.0 is the ability to record MPEG-2 422P@HL at 50 Mbit/s in an MXF wrapper. This XDCAM-compatible MPEG-2 recording format allows television productions to take advantage of Amira’s image quality and ergonomics, while using a low-bandwidth codec that can easily be integrated into typical broadcast environments and workflows.

Recording MPEG-2 MXF with Amira ensures 100 percent compatibility with the format already used by many low-budget or time-pressured television productions, for which a streamlined workflow through ingest, editing and post is key. This cost-efficient format minimizes the number of memory cards needed on set, but also reduces post and archiving costs through reduced data rates and seamless integration with standard tools.

To help further integration of Amira into television production environments, a new audio accessory will be released. Taking the form of an extension to the back of the camera body, it will equip Amira with a slot for a portable audio tuner/receiver. This will allow signals to be received wirelessly from either the sound recordist’s mixer or straight from radio microphones, accommodating the needs of ENG-style productions that capture audio directly in-camera, but value the most cable-free configuration possible.

Arri’s Franz Kraus discusses the Alexa 65

By Randi Altman

During IBC 2014 in Amsterdam, I was offered the opportunity to sit down with Franz Kraus, managing director of Arri. There was some breaking news he was willing to share — a new camera that had been whispered about here and there on the show floor. This was one week before the Cinec show in Munich, where the camera company introduced its newest offering, the Alexa 65.

How could I turn down that kind of opportunity?! So I headed out of the RAI Convention Center, went straight into my “this is how a native New Yorker walks” mode and got to a neighboring hotel just in time to wipe my brow, put my handy iOgrapher iPad mini rig onto a tripod and hit record.

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Offhollywood launches cinema camera accessory products

New York’s Offhollywood, the former post house turned camera equipment rental and production services boutique that focuses on emerging technologies, has entered the world of product development with three initial camera accessory products. HotLink, HotBox R/S and the HotTap will be on the Red Digital Cinema booth during the IBC show in Amsterdam.

HotLink_handMAIN

“Since we started Offhollywood in 2003, we have been alpha/beta testers and early adopters, providing feedback and ideas to leading technology companies in the content creation space,” reports CEO Mark L. Pederson. “We believe that technology will continue to evolve and radically empower content creators, and we are excited to stay on the edge of that change and develop and produce new tools and accessories for digit cinema, television and interactive.

The HotLink is a third-party hardware tool that facilitates wifi control of Red’s DSMC Digital Cinema camera systems, leveraging the RedLink Command Protocol, an open development platform for camera control and metadata integration, announced by Red at NAB earlier this year.

The Hotbox R/S was designed for rental houses to solve power distribution and run/stop camera triggering issues when working with Red DSMC camera systems, Arri Alexa and Amira cameras, and Sony F5 and F55s.

hotbox_rs_wifI-hi one

The HotLink is a reinvented P-Tap power distribution splitter for powering camera accessories with the common, industry standard P-Tap power cables. The HotLink adds an internal resettable fuse and directional current protection on its 2-pin LEMO power input to protect the camera and attached accessories.

“First the lab moved to the set with the advent of on-set and near set dailies — and now the lab is moving into the camera and into your pocket,” explains Pederson. “Having full wifi control of the camera and metadata on a RAW digital cinema cameras with an iOS device is a powerful proposition. New applications such as FoolControl iOS are now setting the bar. Once you experience iris and lens control, exposure monitoring, slating and access of any and all settings on the camera from 50+ feet away — no wires — just the touch of your fingers on an iOS device you carry in your pocket — it’s pretty hard to not start working and thinking differently.”

Arri Amira camera shipping in April, new software update for Alexa

Las Vegas —  Arri is at NAB this year with its new documentary-style camera, the Amira. It ships this month and will be available in a range of upgradeable packages. In other Arri news the Alexa is getting a free software update packet, the SUP 10.0.

First let’s dig into Amira news. The camera offers high-quality images and CFast 2.0 workflows with a design optimized for single-operator use and extended shoulder-mounted operation. Amira features in-camera grading with preloaded 3D LUTs, as well as 200fps slow motion. It is suitable for a variety of productions, from reporting and corporate films to TV drama and low-budget films.

The 3D LUTs are designed to help productions get into post more quickly. These 3D LUT-based looks that can be applied on set during the shoot. Alternatively, productions can Continue reading