I have found the AUWZ to be a perfect complementary tool to the Master Anamorphics. With it I can shoot extreme wide angles whilst maintaining consistent backgrounds and undistorted horizons.

Award-winning French cinematographer Matias Boucard has used Master Anamorphic lenses on such films as DON’T GROW UP and THE ODYSSEY. On the latter, Boucard additionally used ARRI’s Anamorphic Ultra Wide Zoom to capture wide-angle aerial shots. He found that the two anamorphic lens types worked well in combination: “The AUWZ is not that big, easy to use and it matches perfectly – color range and everything. For me, it’s the same family.“

The Ultra Primes…are the only lenses that perceive light and color the way my eyes do.

Italian cinematographer Luca Bigazzi has been using ARRI/ZEISS Ultra Prime lenses on all of his films for a number of years now, stating that they provide “a solid, consistent base for infinite possibilities.” He made no exception on director Paolo Sorrentino’s THE GREAT BEAUTY, which won the Academy Award for Best Foreign Film in 2014.

The Ultra Primes gave our black-and-white images richness, contrast, and all the texture of life.

Cinematographer Ryszard Lenczewski was educated at the Polish National Film School, where he now serves as a professor. With Łukasz Żal, he was awarded the Golden Frog in the main competition at Camerimage 2013 for his work on director Pawel Pawlikowski’s IDA, captured with ALEXA and Ultra Prime lenses, which Lenczewski describes as having a “superb optical performance.”

Being able to open up to T1.9 on the Master Anamorphics allowed me to get an exciting new look.

Based in China, Dutch cinematographer Joewi Verhoeven is a graduate of the Beijing Film Academy. He recently shot a feature film with the ALEXA Studio and Master Anamorphic lenses, stating, "With the Master Anamorphics, ARRI and ZEISS managed to combine the best aspects of anamorphic with the optical performance and convenience of spherical lenses, thus taking anamorphic filmmaking to a whole new level."

The Lightweight Aluras were the only lenses I needed.

While shooting a recent commercial for German TV, cinematographer Maher Maleh found that he could achieve everything he wanted working purely with the ARRI/FUJINON Alura Lightweight Zoom lenses. He notes, “The optical performance matches prime lenses and the metadata makes VFX work in post easy.”

Experimental filmmaker Philip Clemo travelled to Norway with an ALEXA camera and Alura Zoom 45-250, intent on capturing the fleeting beauty of the northern lights. Of the Alura, he notes, "It's a very robust piece of kit that needs a sturdy tripod – there's no doubting the mechanical or optical quality. With the Alura Zoom, there was no sign of chromatic aberration, flare was well controlled and, in the grading suite, it matches well with the Master Primes."

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