Asia-Pacific Broadcasting (APB) BroadcastAsia2016 Show Daily - Day 1 | Page 14
14 BROADCASTASIA2016 SHOWDAILY
14
31 May 2016
ARRI brings cinematic look
to Asia’s broadcast industry
One of ARRI’s key highlights this
year is the Amira camera, which
“promises to take the cinematic
look into the broadcast arena”.
Why is the Amira a particularly
attractive proposition for content producers in Asia?
Augustine Cheung: The Amira
combines exceptional image quality, affordability and efficient workflows with an ergonomic design
optimised for single-operator use.
These qualities mean the Amira is
fast becoming the preferred option
for a wide range of production
types that demand cinematic image
quality in situations where crews are
small, time is of the essence, and
budgets are constrained — factors
impacting productions in Asia.
The Amira also offers an incamera colour-grading feature
unmatched in other broadcast
cameras. Highly suitable for TV productions that need to move fast, the
Amira captures the full cinematic
look with a smaller budget.
What production trends is ARRI
seeing in Asia, and how are
offerings such as the Amira
ARRI is offering the Amira camera, which provides
TV productions a cost-effective solution to capture
the full cinematic look. Augustine Cheung, senior
sales manager, of ARRI Asia, shares more about
the Amira and what visitors can also expect at
booth 5A5-01.
addressing these trends?
Cheung: We believe Amira is the
right choice of camera for the
broadcast market today, and well
into the future.
Its versatility allows it to capture
the cinematic look with fast and
efficient workflows, and because
it is constantly being upgraded,
Amira is highly adaptive to a wide
range of production environments.
It is rapidly becoming the camera
of choice for TV dramas, reality
shows and commercials in China
and North Asia.
The next step for Amira is live
TV productions. The latest versions
of Amira incorporate a ‘Multicam’
mode, a simple and flexible interface that can be used with the CCU
to support EFP (electronic field production) or TV studio productions.
Multicam is also an extremely attractive option for multi-camera
shooting environments, such as
music concerts and live events.
How is ARRI continuing to support the 4K/UHD transition,
incorporating technologies such
as HDR?
Cheung: The concept of high
dynamic range (HDR) has been
adopted in all our digital cameras
since 2010. The Alexa family and
Amira cameras contain all the
ingredients for best overall image
quality: HDR, natural images, high
sensitivity, natural colour reproduction, excellent colour separation
and the absence of artifacts.
Responding to the feedback
on 4K/UHD demand, ARRI offers
the ability to record in 4K/UHD
❝The concept of high dynamic range (HDR) has
been adopted in all our digital cameras since 2010.❞
— Augustine Cheung, Senior Sales Manager, ARRI Asia
deliverables and live output while
maintaining unsurpassed image
quality. We will continue to keep
an eye on market trends and be
flexible in providing the best solutions for customers’ needs.
What lighting trends have you
also observed in the broadcast
industry, and how is ARRI supporting TV studio and location
lighting requirements?
Cheung: We believe LED lighting is the only way to go for the
broadcast market. For this reason,
ARRI has introduced the L-Series
LED Fresnel lampheads — the
L5, L7 and L10. The L10 can even
support studio lighting set-ups
exceeding 10m in height.
More recently, we further expanded our LED family by introducing SkyPanel soft lights. Incorporating features of the L-Series
LED Fresnels, SkyPanel is one of the
most versatile soft lights currently
available. It is the market leader
in the LED flat-panel market, being fully RGB-tuneable, and users
can also adjust correlated colour
temperatures.
At BroadcastAsia2016, we are
setting up a SkyPanel space-lighting demo site to allow broadcasters
to experience this latest concept
in lighting set-ups for TV studios.
Simplify
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Unlimited matrix support @ 60 Hz