Arri AMIRA
- Thread starter sebben
- Start date
Sheldon Charron
Well-known member
They have a 4k upgrade path planned. They offered 2K to keep the camera at under $20k sans lens.
David W. Jones
Veteran
David W. Jones
Veteran
This is going to see a lot of use in episodic TV.
Nate Weaver
Veteran
This is a big deal if true. Can I ask where you saw that? I'm scanning materials and Arri FB page now, haven't seen that yet.
cowpunk52
Veteran
There's been no planned 4K upgrade announced. Price is unannounced, as well - all we know is that it's meant to compete with F55 & C500. That was info tweeted by Andy Shipsides. Everything else is speculation.
Sheldon Charron
Well-known member
And I speculate that it will be available right after they announce the 4K upgrade to the Alexa. 
And I speculate that it will be available right after they announce the 4K upgrade to the Alexa.
Where do you get this info from? It's a 2.9K sensor so the 4k upgrade would be hardware?
Again, I have nothing against the other cameras, but the Alexa has a better look that's immediately identifiable in a full-res trailer, theatrical projection, etc. and I'd far prefer shooting with it, except for its ergonomics.
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david.rhsc
Member
This is very much the camera for which I have been waiting. The top/bottom dovetail balancing is nothing short of genius. Other mounts are nice, but the PL is where it's at for me.
Expect about twice that. The fujinon pictured with it is a ~ $40K lens. They are claiming "Less than an Alexa" and that has a "starter kit" price around $68K or so. Lots of room between that number and $20K.
I'm guessing body price somewhere in the $30K - $45K range. If they can get it out the door for less than that I would be more than pleasantly surprised. If you want one of those fujinon's with it and are starting from scratch on aks, then figure $100K investment.
All of that is conjecture, of course.
Interesting, then perhaps they are targeting a lower price point than I thought. Here's hoping I am being pessimistic about the pricing!
Expect about twice that. The fujinon pictured with it is a ~ $40K lens. They are claiming "Less than an Alexa" and that has a "starter kit" price around $68K or so. Lots of room between that number and $20K.
I'm guessing body price somewhere in the $30K - $45K range. If they can get it out the door for less than that I would be more than pleasantly surprised. If you want one of those fujinon's with it and are starting from scratch on aks, then figure $100K investment.
All of that is conjecture, of course.
Interesting, then perhaps they are targeting a lower price point than I thought. Here's hoping I am being pessimistic about the pricing!
David W. Jones
Veteran
Something else which is refreshing... Is a company that is really listening to the end users, rather than forcing features upon us based on what the other camera companies are doing.
Sheldon Charron
Well-known member
I'm just stirring the pot fellas. I have no more info than you guys. 
Perhaps they meant a future 4K camera from Arri, not necessarily the Alexa - or the Amira.
http://nofilmschool.com/2013/07/arri-confirms-4k-camera-development/
Sheldon Charron
Well-known member
Yeah check out the HD version. May as well just buy a Dragon rig.
Nate Weaver
Veteran
Investing in Arri is not about tech specs. It's about the long view, and clients that desire and pay good rates for solid reputations. Alexa owners as a whole have stayed strong on their rental rates, because they have good clients and don't need to buckle to grinders.
Only after having invested in Red gear and gotten out can I appreciate the difference.
Call it what you want, but the Alexa owners I know are very happy with their purchase, as it always does the job it was intended to do, and they're all paid off and making money.
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david.rhsc
Member
A welcome change from the trend towards boxes that need several thousand dollars worth of erector set to be usable in the field. The 235 is a dead sexy piece of equipment.
I'm struggling to see a reason I couldn't use this in a narrative context just as well as a documentary one. PL mount is PL mount, so if you kitted it out with the 19-90 Cabrio for everyday use, what's to stop you from renting a set of primes when the job calls for it. It's setup for rods, has mount points on the body, etc etc.
The way I see it, lack of RAW is the biggest drawback for narrative, not the documentary form factor.
I'm sure there is something I am missing as well.
This. 100% I have nothing against RED per se - I tend to be pretty agnostic about such things, and have worked/seen plenty of excellent content done with the various REDs - but there's something about the market for RED shooters that I can't quite wrap my head around. So many private owners with a Scarlet or Epic package, but 0 experience operating a camera. So many producers that are looking for those very people to get cut rate bargains on an owner/operator just for the ability to say "We Shot on RED." It's a weird space. Not all of it is like that, obviously, but you don't see that with the Alexa. Or at least, in my admittedly limited experience, I haven't seen that with the Alexa.
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KahL
Well-known member
A welcome change from the trend towards boxes that need several thousand dollars worth of erector set to be usable in the field. The 235 is a dead sexy piece of equipment.
I'm struggling to see a reason I couldn't use this in a narrative context just as well as a documentary one. PL mount is PL mount, so if you kitted it out with the 19-90 Cabrio for everyday use, what's to stop you from renting a set of primes when the job calls for it. It's setup for rods, has mount points on the body, etc etc.
The way I see it, lack of RAW is the biggest drawback for narrative, not the documentary form factor.
I'm sure there is something I am missing as well.
This. 100% I have nothing against RED per se - I tend to be pretty agnostic about such things, and have worked/seen plenty of excellent content done with the various REDs - but there's something about the market for RED shooters that I can't quite wrap my head around. So many private owners with a Scarlet or Epic package, but 0 experience operating a camera. So many producers that are looking for those very people to get cut rate bargains on an owner/operator just for the ability to say "We Shot on RED." It's a weird space. Not all of it is like that, obviously, but you don't see that with the Alexa. Or at least, in my admittedly limited experience, I haven't seen that with the Alexa.
100% truth here.
I see this all the time; it's as if the Red has become the new 5D in many respects. I can't count how many tasteless cheapo music videos and films I've seen shot on Red (and DSLR respectively) and w/ the Alexa, it appears the skill gap is much higher w/ less of the aforementioned content. Which is ironic to me considering that the Alexa is SIMPLER to use, much like film cameras are. Maybe it's a price gap issue, who knows.
David G. Smith
Steak Knife Member
A welcome change from the trend towards boxes that need several thousand dollars worth of erector set to be usable in the field.
I'm struggling to see a reason I couldn't use this in a narrative context just as well as a documentary one. PL mount is PL mount, so if you kitted it out with the 19-90 Cabrio for everyday use, what's to stop you from renting a set of primes when the job calls for it. It's setup for rods, has mount points on the body, etc etc.
The way I see it, lack of RAW is the biggest drawback for narrative, not the documentary form factor.
I'm sure there is something I am missing as well.
I understand the modular approach, get the best sensor/processing box you can and kit it up as needed with the resources you have. Yeah, cool, Ok. I have to admit though, I do miss having a shoulder mount camera that you can pull out of a case and go to shooting with. ... And this sucker is an ARRI!. I cut my teeth with an Arri 16 SRII, shooting run and gun, guerrilla fictional narrative with it. It was a great camera, built like a tank, but still very easy to use in tight places run and gun.
I think the Amira is a w*t dream camera for low budget fictional narrative. Think of all the flicks (and TV shows) shot with the Varicam. Take that form factor and add Alexa image quality. PLEEEEASE!
Nate Weaver
Veteran
Ding ding ding.