I love the way the Master Primes are – one of the best lenses probably ever made…they allow you to have clean images, and that I like very much.

Adding to his already brimming trophy case, Emmanuel “Chivo“ Lubezki received an unprecedented three consecutive Oscars for his work on BIRDMAN, GRAVITY and THE REVENANT, all of which were captured with ALEXA and ARRI/ZEISS Master Prime lenses. On THE REVENANT, Lubezki wanted an immersive, visceral feel and used 90% natural light.

I can’t imagine any other lenses doing justice to the intricate and varied visual palette of a period film like this one.

Indian cinematographer Sudeep Chatterjee has received more than a dozen awards, including the prestigious National Award for Cinematography in 2014. For his films DHOOM 3 and BAJIRAO MASTANI, Chatterjee combined ALEXA with Master Primes. “I like the sharpness of the lenses, the way they look into shadows… I like to have shadow detail and the Master Primes, together with ALEXA, give me that beautifully.”

The Master Anamorphics just scream cinema: they’re more controllable than other anamorphics, but give gorgeous flares if you want them and the bokeh is so impressionistic.

Reed Morano’s credits include FROZEN RIVER, AND SO IT GOES, KILL YOUR DARLINGS and Martin Scorsese’s HBO series VINYL. She has used Master Anamorphic lenses on a number of productions, including MEADOWLAND, on which she served as both director and cinematographer. “The Master Anamorphics blew me away and created a very rich texture in combination with the ALEXA. These lenses are fast…they were just right.”

Public lighting in cities can make skin tones look poor, but the Master Anamorphics are great tools to ensure you get perfect colors shooting in available light, even at low levels.

Russian cinematographer Michael Khasaya combined ALEXA with Master Anamorphic lenses on the feature film THE COLD FRONT, directed by Roman Volobuev. “They're perfect,” he says. “The aperture is large, the color rendering is natural and the brilliance of the picture is more like that offered by spherical lenses. What I love most is that, unlike other anamorphic lenses, you can work with a large aperture and not worry a bit.”

The flare sets provided very beautiful and natural effects without complicating the lighting setup.

Takehiko Fukae used the Master Anamorphic Flare Sets on a showreel produced by Tokyo-based postproduction and equipment rental facility Digital Garden. He notes, “I love that the flare sets give you the choice of three different looks because of the different combinations of elements: front and rear, just front or just rear. I found that we kept discovering exciting images that we hadn't originally planned.”

The Ultra Wide Zoom is an incredible lens with superb qualities – so clean and with no distortion. I shot an entire project with the UWZ and it provided boundless storytelling possibilities.

Luo Pan, one of China’s premiere cinematographers, has been working with ARRI cameras for his entire career. Since 2001, he has filmed a number of award-winning movies, including THE DEAD END, THE SACRED ARROW and MR. SIX. In his film I’M NOT MADAME BOVARY, he used a highly unorthodox circular aspect ratio that garnered him great attention within the industry.