Berlinale 2016: Jessica Lee Gagné Cinematographer Jessica Lee Gagné discusses her work with ARRICAM LT 35 mm cameras and ARRI/ZEISS Master Prime lenses on director Denis Côté’s feature film BORIS SANS BÉATRICE (BORIS WITHOUT BEATRICE).
Berlinale 2016: Emre Erkmen Cinematographer Emre Erkmen explains how he combined the ARRI ALEXA camera with ARRI/ZEISS Master Anamorphic lenses on the film AUF EINMAL (ALL OF A SUDDEN), a German-Dutch-French co-production directed by Asli Ozge.
Trailer for CAROL, shot with the ARRIFLEX 416 Directed by Todd Haynes, CAROL was shot in the Super 16 format by cinematographer Ed Lachman ASC, who combined the ARRIFLEX 416 with an ARRI/ZEISS Master Zoom.
TechTalk - Installing the Master Anamorphic Flare Set Installing the ARRI/ZEISS Master Anamorphic Flare Sets.
MEADOWLAND trailer MEADOWLAND, shot and directed by Reed Morano ASC was captured on ALEXA with ARRI/ZEISS Master Anamorphic lenses from ARRI Rental NY.
Master Anamorphics at Le Mans Cinematographer Maher Maleh worked with ARRI/ZEISS Master Anamorphic lenses, an ALEXA camera and M-Series lights for a 3-minute image film about Toyota's presence at the famous Le Mans motor race.
Trailer for LOST IN HONG KONG, captured with ALEXA and Master Anamorphics The phenomenally successful Chinese film LOST IN HONG KONG broke the domestic 2D box office record within 10 days of its release. Directed by Zheng Xu, it was shot by cinematographer Xiaofei Song, who chose to use ARRI ALEXA cameras and Master Anamorphic lenses.
IBC 2015: Cine lenses ARRI cine lenses product manager Thorsten Meywald presents the Master Anamorphic Flare Sets and the Ultra Wide Zoom.
Ultra Wide Zoom: perfect for VFX A short film highlighting the extraordinary optical qualities of the ARRI Ultra Wide Zoom UWZ 9.5-18/T2.9, including minimal distortion, even illumination and corner-to-corner sharpness.