The image quality is absolutely beautiful. It is sharp without feeling clinical and neutral in tone.
Roberto Schaefer, ASC, has used ARRI cameras and Master Prime lenses on a wide range of different films, from the moving Afghanistan drama THE KITE RUNNER to the action-packed James Bond movie QUANTUM OF SOLACE and sci-fi adventure THE HOST. “The image quality is absolutely beautiful,” he says. “It is sharp without feeling clinical and neutral in tone.”
I've never been so excited about a new lens as I was when the Alura Zoom 45-250 came out.
Cinematographer Shi Luan, working with director Hou Yong, recently shot the first TV series in China to be captured with ALEXA, titled ANGRY PHOTOGRAPHER. Luan is also a fan of ARRI zoom and prime lenses: “I've never been so excited about a new lens as I was when the Alura Zoom 45-250 came out,” he says. “I also get wonderful images with my Master Primes, which I feel can bring me endless creative possibilities.”
Michel Abramowicz, AFC, tested the MA50 lens on a short film in Paris. “I was really happy with how the Master Anamorphic performed at T1.9 because there was no distortion and no loss of the color structure,” he notes. “With the Master Anamorphic there is a graduation as the focus falls away that is very nice. This lens helps a lot with getting a very nice skin texture and color.”
ARRI/FUJINON is a proven and trusted brand. Alura Zooms provide superior cost-performance and are the best match with ALEXA.
Cinematographer Nobuo Hashimoto has used production company PICT INC.’s ALEXA camera and Alura Zoom lenses on various TV commercial projects. He appreciates the exceptional quality of the lenses as both a DP and a technical advisor for the company, noting, “ARRI/FUJINON is a proven and trusted brand. Alura Zooms provide superior cost-performance and are the best match with ALEXA.”
The Master Primes blow me away, they’re just so fantastic. Even at T1.3 they look sharp.
Jon Joffin, ASC, notes, “The Master Primes blow me away, they’re just so fantastic. Even at T1.3 they look sharp. There’s something about the quality of the out-of-focus backgrounds that I just love. The bokeh is so buttery and beautiful, it’s almost addictive. You’ll be shooting on a 25 mm and find yourself putting ND filters in front of it because you want those out-of-focus backgrounds. I just fell in love with the look.”
Director Roberto de Angelis recently made a short film on location in Paris using only the 50 mm Master Anamorphic lens, combined with an ARRI ALEXA. “At night, the quality of the out-of-focus highlights gave us additional artistic possibilities,” he says. “I found that, when shooting digitally, anamorphic brought us closer to a filmic look.”