Arri Amira


The film and tv industry has embraced this incredible camera from Arri, and you should too. With 14 stops of dynamic range and a base sensitivity of 800 iso, this camera functions especially well in low light situations via its Super 35 sensor. This shoulder balanced camera makes shooting handheld a cinch and works perfectly for documentaries or reality series.

Owner Notes:

body, designed to let you pick it up and start shooting. Since the AMIRA’s sensor is the same as that of the ALEXA, you’ll get 14 stops of dynamic range, fantastic skin-tone rendition, a native ISO of 800, and EI range from 160 to 3200.

Recording in ProRes formats up to 4:4:4 in HD and 2K modes with frame rates up to 200fps, the AMIRA also includes all the standard frame rates of the ALEXA, in addition to some interlaced frame rates (59.94i and 50i), which are necessary for some broadcast applications. All recording is done to CFast 2.0 cards, which are fast and affordable. The camera features an internal motorized ND filter wheel with 0.6, 1.2, and 2.1 ND filters.

The AMIRA Premium is the highest-end of the AMIRA varieties, with the ability to shoot 2K 4444 ProRes, up to 200 fps, and in Log C installed in-camera.

Features:

Same sensor and image quality as the ARRI ALEXA
Records HD 1080 or 2K
Dynamic range of more than 14 stops, low noise, beautiful skintone and natural color rendering
Records Rec 709 or Log C images using ProRes LT, 422, 422HQ or 444 codecs
Speeds of up to 200 fps
Single-user ergonomics - perfect shoulder balance
Build-in ND filters
High-res OLED eyepiece and fold-away LCD monitor
Comes with a number of preloaded 3D Lut-based looks
Rugged and reliable build

Replacement value: $39,000.00
Use this for: TV Shows, Films, Documentaries, Reality TV

$950.00

per day

$2,850.00

per week

$950.00

per weekend


body, designed to let you pick it up and start shooting. Since the AMIRA’s sensor is the same as that of the ALEXA, you’ll get 14 stops of dynamic range, fantastic skin-tone rendition, a native ISO of 800, and EI range from 160 to 3200.

Recording in ProRes formats up to 4:4:4 in HD and 2K modes with frame rates up to 200fps, the AMIRA also includes all the standard frame rates of the ALEXA, in addition to some interlaced frame rates (59.94i and 50i), which are necessary for some broadcast applications. All recording is done to CFast 2.0 cards, which are fast and affordable. The camera features an internal motorized ND filter wheel with 0.6, 1.2, and 2.1 ND filters.

The AMIRA Premium is the highest-end of the AMIRA varieties, with the ability to shoot 2K 4444 ProRes, up to 200 fps, and in Log C installed in-camera.

Features:

Same sensor and image quality as the ARRI ALEXA
Records HD 1080 or 2K
Dynamic range of more than 14 stops, low noise, beautiful skintone and natural color rendering
Records Rec 709 or Log C images using ProRes LT, 422, 422HQ or 444 codecs
Speeds of up to 200 fps
Single-user ergonomics - perfect shoulder balance
Build-in ND filters
High-res OLED eyepiece and fold-away LCD monitor
Comes with a number of preloaded 3D Lut-based looks
Rugged and reliable build

Replacement value: $39,000.00
Use this for: TV Shows, Films, Documentaries, Reality TV

Geissbühler Associates, Llc Avatar

Geissbühler Associates, LLC

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http://www.lukegeissbuhler.com/ Luke Geissbühler has been the cinematographer on everything from Borat to The Muppets, OK Go to Helvetica to Patrick Stewart's powerful dramatic performance in Match. He and his son even sent a camera to space to photograph the curvature of the Earth in a homemade capsule just for the fun of it. Over 20 very active years of production, Mr. Geissbuhler has been called upon to shoot features, commercials and documentaries all over the world for the likes of Katherine Bigelow, Jay Roach, Adam McKay, Barry Levinson, Barbara Kopple, Doug Liman, OK Go, Warner Brothers, Lego, 20th Century Fox, Universal, and Sony Pictures in addition to commercial clients like Samsung, Dominos, Captain Morgan, Nike, Victoria's Secret and many others. Luke has recently been awarded an Oscar nomination for best live action short as the Producer and Cinematographer on the film Time Freak. Read more »