iF design award for Master Anamorphic lens
Carl Zeiss, the renowned optics company and a valued technology partner of ARRI, has won a prestigious iF product design award for the new ARRI/ZEISS Master Anamorphic MA 50/T1.9. Carl Zeiss also won four further product design prizes at the 2013 iF design awards, three for stills camera lenses and one for the cine Compact Zoom CZ.2 70-200/T2.9.
The iF design awards have been running since 1954, with recognized experts serving as the judges who bestow prizes for design excellence. The five prizes awarded to Carl Zeiss this year recognize a new design approach at the company, as Martin Dominicus, Head of Marketing of Carl Zeiss Camera Lens Division, explains: "We have established a design language that aims to convey the strengths and the identity of our lenses through their appearance, how they feel to the human touch, and the impression they create. While ZEISS lenses have until now mainly been known for their technical precision, excellent image performance and ergonomics, they will now also meet the highest aesthetic standards of our customers."
The ARRI/ZEISS Master Anamorphic series, of which the award-winning 50 mm/T1.9 is the first example, comprises seven high performance primes ranging in focal length between 35 mm and 135 mm. This new generation of lenses represents a significant step forward in the technology and practicality of anamorphic cinematography, combining compact form factor, minimal weight, exceptional optical performance and very high speed, with all seven focal lengths boasting a T-stop of T1.9.
Though they are also compatible with analog film cameras, the Master Anamorphic lenses are the first anamorphic primes to have been designed for modern 35-format digital cameras. More specifically, they are intended to perfectly complement ARRI ALEXA cameras equipped with a 4:3 sensor.
Thorsten Meywald, Lenses Product Manager for ARRI, comments: "The actual design of the Master Anamorphic range represents the culmination of technical and marketing experience in the 75 years of partnership between ARRI and Carl Zeiss. ARRI has direct access to the cine market and is able to focus a great deal of customer feedback into one technical spec, which then forms the basis for the cooperation of both companies on new lens projects."
The names and scales on ZEISS lenses are -- fully in line with a uniform and recognizable typography -- in the standardized typeface DIN 1451. This typeface, used since 1936 for German road and rail signage, is known for its clear, classic and modern appearance. It is intended to be quickly recognizable and optimally legible -- characteristics to which photographers and cinematographers attach great importance, as they make it easier to handle a lens.
Thorsten Meywald continues: "The lens marks are one of the most important interfaces for the user because they give him exact knowledge about the status of the lens settings. This has to be as accurate and visible as possible, even under dim lighting conditions. The actual lens marks were tested with many cinematographers worldwide and everybody agreed: this is state-of-the-art design, without useless gimmicks."
Screening Room >>
The new ARRI Anamorphic Ultra Wide Zoom AUWZ 19-36/T4.2 is the widest professional anamorphic lens in the world. It allows anamorphic productions to incorporate visually stunning and distortion-free wide-angle perspectives into their storytelling.
One Lens - Many Looks >>
Cinematographer Tom Faehrmann tests the new Master Anamorphic Flare Sets, which enhance on-set creativity by giving each of the seven focal lengths three additional looks without sacrificing the resolution, lack of distortion or corner-to-corner optical performance for which the Master Anamorphics are famous.