The Master Anamorphics blew me away with their magical blend of Master Prime resolution and contrast with never-before seen smoothness.

Stijn Van der Veken, SBC, tried out the ARRI/ZEISS Master Anamorphic lenses on a test shoot titled IN FLANDERS FIELDS. After deliberately pushing the new lenses in challenging situations, he reports, “The Master Anamorphics blew me away with their magical blend of Master Prime resolution and contrast with never-before seen smoothness, color rendition and cinematic bokeh. These lenses will take anamorphic to a whole new level.”


Portraits are the most sensitive shots a DP has to create; with the new Master Prime 135 mm we are perfectly prepared for that challenge.

German cinematographer Tom Fährmann, BVK, has been helping ARRI field test new equipment for several years. Celebrated for his portrait photography, Fährmann was the ideal person to try out the Master Prime 135 mm – a focal length noted for its flattering portrayal of the human face. “Portraits are the most sensitive shots a DP has to create,” he says. “With the new Master Prime 135 mm we are perfectly prepared for that challenge.”


I've long been a fan of ARRI Master Prime Lenses, their optical quality is superb.

Having used the Master Primes for his Oscar-nominated work on THE KING'S SPEECH, Danny Cohen, BSC, turned to them again for his next film with director Tom Hooper. He states, “I've long been a fan of ARRI Master Prime Lenses, their optical quality is superb and the broad range of focal lengths is invaluable, particularly on a film on the scale of LES MISERABLES. I had access to every conceivable lens size I could possibly want, and I used them all.”


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