InCinematographer - Issue 1 - June 2017 - 21

21

www.incinematographer.com | Issue 1 | June 2017

AMIRA Multicam Boost
T

he new AMIRA Software Update Package (SUP)
5.0 further refines the camera's Multicam mode -
a flexible, open interface for multi-camera broadcast
applications.
Available for all AMIRA models, the Multicam
mode makes the exceptional image quality of ARRI's
ALEV III sensor - also used by ALEXA - available to
productions within the multi-camera broadcast
sphere. Through a Multicam setup, the AMIRA's
shallow depth of field, unrivalled dynamic range and
natural colorimetry can lend a cinematic look to live
broadcasts, music concerts, TV soaps, and other fastpaced, multi-camera productions.
First introduced with AMIRA SUP 3.0, Multicam
was refined in SUP 4.0 and will be further improved
with some exciting new features coming in SUP 5.0.
Uptake of the Multicam mode has been enthusiastic,
reflecting an increasing demand for high-quality
imagery in the wider broadcast market. AMIRA
Multicam shoots to date have included major U.S.
comedy shows, Broadway stage productions, fashion
shoots, TV talent shows, corporate events, and
concerts.
At its core, Multicam is a simple and flexible

interface that can be used with virtually any
transmission system required. It allows the image
parameters of multiple AMIRA cameras to be remote
controlled using a Sony RCP (Remote Control Panel),
including iris setting.
4k Output At 60fps
The big new Multicam feature being introduced
with SUP 5.0 is dual 6G UHD-SDI support, which
improves the cameras' SDI output data rate
sufficiently to allow external 4K UHD recording
at frame rates up to 60fps. Many multi-camera
broadcast productions prefer to record at 4K, even if
the content will be down-converted for transmission.
The increased spatial resolution is best shown off by
also increasing the temporal resolution - upping the
frame rate in order to reduce motion blur.
Pre-Loaded LUTS
The ARRI Look Library (see side-bar) being
launched with SUP 5.0 will make an entire catalog
of varied looks available to AMIRA Multicam
productions, allowing them to adopt an even more
cinematic visual approach. In addition, it will become

A Repertoire of Looks

Refined: AMIRA
multi-camera
broadcast mode

easier and faster to match multiple cameras by using
equalized looks generated from color chart frame
grabs.
Transmission
In order to accommodate customers who want
to source as many elements as possible from one
vendor, DTS transmission system components
that have been optimized for AMIRA Multicam
are available directly from ARRI sales centers.
The fiber transmission system from DTS is an
attractive solution because it is compact, has all
the functionality required and offers good value
for money. However, it is not the only transmission
system that can be used.
AMIRA Multicam was designed from the outset
to be as open and flexible an interface as possible.
While the DTS components will suit many users,
others may prefer to go with a different fiber
solution, or a wireless radio transmission system.
Since AMIRA Multicam is agnostic when it comes
to a transmission pipeline, it will provide the same
production benefits no matter which system is used
to connect the cameras to the base station or CCU.

over large distances or between different units on
the same production - and time savings facilitated in
post-production, since scene-specific or even shothe ARRI Look Library puts on-set look preproduction, or not enough time in the final grade
specific looks can be implemented long before the
management within the reach of all productions, to create and work with numerous different looks. In
final grade.
not just those with the time and budget to develop situations like these, the ARRI Look Library will allow
The 87 looks have been developed by ARRI Media,
bespoke looks prior to shooting.
filmmakers to make creative look choices on set,
ARRI's post-production and creative services
Offering 87 looks in three intensities, the ARRI Look giving all departments the opportunity to become
business, based in Germany. Additional looks
Library caters to a huge variety of different shooting familiar with the final intended looks and to work
inspired by customer feedback are likely to be added
scenarios.
within them.
to the library in the future, and users have the option
The looks are numbered within
to tweak looks using iPad-based
nine themed groups: Application;
tools such as Pomfort LiveGrade
Black-and-White;
Contrast;
Air, thanks to the Camera Access
Environment; Film; Period; Season;
Protocol feature of ALEXA SXT
Special; and Tinted.
and - from SUP 5.0 - AMIRA and
In a sense, the looks can be
ALEXA Mini. Individual looks
thought of as being similar
can be commissioned from
to different film stocks, each
ARRI Media for specific color
providing a unique but repeatable
spaces such as P3 or special
Nine themed groups of looks requirements such as HDR.
aesthetic when combined with the On-set look management for shooting
cinematographer's choice of lenses.
A defined vocabulary of looks, consistent across all
ARRI Media has also created an accompanying free
By establishing a standardized repertoire of looks, ARRI cameras equipped with the Look Library, will
iPhone app that provides an overview of the library,
the library makes it easier for cinematographers to reduce complexity for cinematographers while giving
giving users an easy way to explore possible looks
work with looks on any production. Often there is them a varied palette with which to experiment.
whether they are on set, scouting locations, meeting
no budget for extensive look development during Creative collaborations will be made easier - whether
with other heads of department or sitting at home.

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Table of Contents for the Digital Edition of InCinematographer - Issue 1 - June 2017

In This Issue
InCinematographer - Issue 1 - June 2017 - Intro
InCinematographer - Issue 1 - June 2017 - Cover1
InCinematographer - Issue 1 - June 2017 - Cover2
InCinematographer - Issue 1 - June 2017 - In This Issue
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