Master Anamorphic Flare Sets
The new ARRI Master Anamorphic Flare Sets are highly versatile and economical accessories for the ARRI/ZEISS Master Anamorphic lens series. Each of the seven Master Anamorphic focal lengths has its own specific flare set, comprising easily replaceable front and rear glass elements that can be used individually or in combination to provide the lens with three additional looks for enriched on-set creativity.
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.
Since their introduction in 2013, the Master Anamorphic lenses have established themselves as the most advanced anamorphic optics ever designed for the film and television industry. Offering a perfect combination of compact form factor, minimal weight, distortion-free optical performance and an unparalleled high speed of T1.9 across the entire focal length range, they are as fast and easy to use as spherical cine lenses and represent a major step forward in anamorphic cinematography.
For most shooting situations, cinematographers and also VFX supervisors appreciate how effectively the Master Anamorphic optical design and coating technology suppress flares and reflections. Under certain circumstances, however, flares might be exactly what a cinematographer wants in order to heighten the emotional impact of a shot, sequence or project by introducing a level of technical 'imperfection.' It is for these situations that the Master Anamorphic Flare Sets have been designed.
The front and rear glass elements that come with each flare set have a special lens coating that encourages flaring, ghosting and veiling glare. These image effects create a visual style that is consistent across all of the flare sets and can be controlled or tweaked via the iris setting, as well as the positioning of lighting fixtures. The front element can be used on its own, as can the rear, or they can be used in combination; each permutation provides a distinct look without sacrificing the resolution, lack of distortion or corner-to-corner optical performance for which the Master Anamorphics are famous.
By using the new ARRI Master Anamorphic Toolkit (purchased separately but compatible with all seven flare sets), the front and rear glass elements can be exchanged with the regular Master Anamorphic elements in a matter of minutes, since each flare element is pre-aligned in a metal frame.
Whether for a feature film, TV show, music video or commercial, the Master Anamorphic Flare Sets give rental facilities a quick and cost-effective way of offering anamorphic productions greater on-set creativity. A set of Master Anamorphics effectively becomes four different sets, each suitable for different flaring requirements while maintaining the huge advantage of being freer from distortions such as curved horizons, focus breathing and 'mumps' and 'pincushion' effects than any other anamorphic lenses on the market.
Cinematographer Tom Fährmann, BVK recently took the MA Flare Sets onto the streets of Munich for a test shoot and commented, "To add real atmosphere and warmth to the image on set rather than digitally in post, we need more flexible lenses that can combine different elements for a wide range of looks, and that's exactly what we get with these flare sets. The option to have a clean anamorphic look as well as a more lively and emotional anamorphic look in a single lens is the perfect model for the future; it is precisely what we have been asking for and again shows that ARRI has its ears wide open to the demands of cinematographers."
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For capturing the best images possible, ARRI offers four solutions to suit every kind of production. We have named these solutions: ALEXA SXT, AMIRA, ALEXA Mini, and ALEXA 65.