I chose Ultra Prime lenses to be sure of having maximum definition.

Bruno Delbonnel, AFC, ASC, is a thrice Oscar-nominated French DP, perhaps best known for his two films with director Jean-Pierre Jeunet: A VERY LONG ENGAGEMENT and the much-loved AMÉLIE. For the latter, Delbonnel worked with the Ultra Prime series, stating, “AMÉLIE was one of the first films to go through a digital grade, so I chose Ultra Prime lenses to be sure of having maximum definition.”


There was a lot of bluescreen work on LIFE OF PI, so we needed our lenses to be extremely sharp. That’s why we chose the Master Primes.

Claudio Miranda, ASC, won the cinematography Oscar for his work on director Ang Lee’s film LIFE OF PI. With the complexities of 3D and a vast number of visual effects shots to contend with, Miranda opted to work with the ARRI ALEXA combined with Master Prime lenses. “There was a lot of bluescreen work on LIFE OF PI, so we needed our lenses to be extremely sharp,” he notes. “That’s why we chose the Master Primes.”


The versatile 100 mm Master Macro is the only must-have lens on every job I shoot.

“Working as a table-top director/DP, the versatile 100 mm Master Macro is the only must-have lens on every job I shoot," says Viv Scanu. “Unlike other macros it performs brilliantly at all T-stops and produces sharp, rich, contrasty images that pop from the screen.”


The Ultra Prime 8R is sharp all the way to the corners and faithfully displays straight lines.

Australia-based cinematographer Roger Buckingham, ACS, works in commercials, features and dramas, and specializes in water work. After capturing breath-taking images with the Ultra Prime 8R in the ocean, he notes, “Smaller, lighter and easier to filter than the 10 mm, the Ultra Prime 8R is sharp all the way to the corners and faithfully displays straight lines.”


The Alura family of zooms deliver a consistent quality that I can depend on.

“Whether in studio mode, on my shoulder, wide or long, the Alura family of zooms deliver a consistent quality that I can depend on, and now hold as a high standard,” says DP Greg Ephraim. “Paired with an ALEXA, I have two reliable tools I can be confident of when shooting.”


What I love about the 15.5-45 Alura is its versatility. The LDS feature is particularly useful when I'm shooting VFX work.

British DP Robert Shacklady was drawn to the 15.5-45 Alura Zoom by its compact size, versatile zoom range and impressive optical performance. “What I love about the 15.5-45 Alura is its versatility,” he says. “The LDS feature is particularly useful when I'm shooting VFX work. Postproduction facilities love the fact that all the metadata they need is embedded in each shot.”


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