The large selection of focal lengths, the pleasant focus behaviour and the sharpness of the Master Prime lenses cannot be beaten.

Cinematographer Frank Griebe has a long-running and extremely successful collaborative relationship with director Tom Tykwer, with whom he has made films such as PERFUME, THE INTERNATIONAL and CLOUD ATLAS, using the Master Prime lenses. “The large selection of focal lengths, the pleasant focus behaviour and the sharpness of the Master Prime lenses cannot be beaten,” he says. “I also appreciate the speed and the perfectly round iris, which provides an organic feel.”


The ARRI/ZEISS Master Primes are the best lenses I have ever worked with; there seems to be no breathing at all through the focus range.

Karl Walter Lindenlaub, BVK, ASC, has used the Master Prime series on a number of his films, including THE CHRONICLES OF NARNIA: PRINCE CASPIAN, the second instalment in Walden Media’s current series of Narnia adaptations. Particularly impressed by the stable frame lines of the lenses during focus pulls, Lindenlaub comments, “The ARRI/ZEISS Master Primes are the best lenses I have ever worked with; there seems to be no breathing at all through the focus range.”


The lens metadata embedded in the image file, frame by frame, along with the camera metadata, greatly facilitates the creation of the CGI.

Bill Bennett, ASC, found that the LDS Ultra Prime lens series brought time and cost-saving advantages when he used them on a car commercial with complex visual effects. He notes, “The lens metadata embedded in the image file, frame by frame, along with the camera metadata, greatly facilitates the creation of the CGI automobile. This saves the post-effects company hours of time and money, allowing them to meet a very tight delivery schedule and budget for the finished piece.”


Robust, compact, matched, reliable. They stand the test of long haul projects like THE LORD OF THE RINGS.

Australian DP Andrew Lesnie, ACS, ASC, has used the ARRI/ZEISS Ultra Prime lenses for many his collaborations with director Peter Jackson, which have often involved protracted and challenging shoots in remote locations. He notes of the Ultras, “Robust, compact, matched, reliable. They stand the test of long haul projects like THE LORD OF THE RINGS, KING KONG and THE HOBBIT."


ARRI and ZEISS really did make a good set of lenses with the Ultras – they’re lightweight, with superb quality and resolution.

Remi Adefarasin, OBE, BSC, has long been a proponent of ARRI/ZEISS lenses and started working with the Ultra Primes as soon as they were released. While using them for the second of Shekhar Kapur’s films about Elizabeth I, he commented, “ARRI and ZEISS really did make a good set of lenses with the Ultras – they’re lightweight, with superb quality and resolution. The 28 mm was a particular favorite on THE GOLDEN AGE.”


I used the Alura 45-250 in Arctic snowstorms as well as in the heat of the desert.

Intrepid wildlife cinematographer Rolf Steinmann works in some of the most beautiful but challenging environments on Earth. After taking an Alura Zoom with him into the wild, he reports, “I used the Alura 45-250 in Arctic snowstorms as well as in the heat of the desert. It's a great lens to capture wildlife in its habitat and it performs beautifully, especially in backlight. I love how the Alura surpresses lens flares and how it paints the sun.”


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