The Master Anamorphic series, a range of nine high-performance prime lenses, represents a significant step forward in the technology and practicality of anamorphic cinematography for 35 format digital and film cameras.
A perfect combination of compact size, minimal weight, very high speed and exceptional optical design with minimal distortion has been achieved in a set of anamorphics. With beautiful out-of-focus backgrounds and a smooth, cinematic look, the Master Anamorphic lenses are as fast and easy to use on set as other modern cine lenses.
The Master Anamorphic Lenses have been co-developed by ARRI and ZEISS, are manufactured by ZEISS, and are sold exclusively by ARRI.
Features
- Low distortion for uncompromised cinemascope
- Cinematic bokeh with high contrast and nice focus fall-off
- Beautiful skin tones and precise color rendition
- Characteristic oval out-of-focus highlights
Master Anamorphic Flare Sets
The ARRI Master Anamorphic Flare Sets are highly versatile and economical accessories for the ARRI Master Anamorphic lens series. Each of the nine Master Anamorphic focal lengths has its own specific flare set, comprising easily replaceable front and rear glass elements with a special lens coating that encourages flaring, ghosting and veiling glare. The flare elements can be used individually or in combination to provide the lens with three additional looks for enriched on-set creativity.
By using the ARRI Master Anamorphic Toolkit, 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. A set of Master Anamorphics effectively becomes four different anamorphic lens sets, each suitable for different flaring requirements while maintaining the famously distortion-free optical performance.
Features:
- Each focal length can now deliver four distinct looks
- Economical way of offering greater on-set creativity
- Distortion-free optical performance retained
- Flare elements can be exchanged in minutes
Quotes
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.
Cinematographer Reed Morano ASC (known for: Lemonade, Frozen River, Meadowland and many more)
The Master Anamorphics blew me away with their magical blend of Master Prime resolution and contrast with never-before seen smoothness.
Cinematographer Stijn Van der Veken ASC , SBC (known for: Outlander, Death of a Shadow, Murk Light and many more)
The flare sets provided very beautiful and natural effects without complicating the lighting setup.
Cinematographer Takehiko Fukae
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.
Cinematographer Michael Khasaya (known for: Attraction, Blokbaster, Sober Driver and many more)
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.
Cinematographer Michel Abramowicz, AFC (known for: Taken, From Paris with Love, The Thing and many more)
Technical Data
Name: | Master Anamorphic MA 28/T1.9 | Master Anamorphic MA 35/T1.9 | Master Anamorphic MA 40/T1.9 | Master Anamorphic MA 50/T1.9 | Master Anamorphic MA 60/T1.9 |
Lens Mount(1): | PL LDS | PL LDS | PL LDS | PL LDS | PL LDS |
Aperture: | T1.9 - T22 | T1.9 - T22 | T1.9 - T22 | T1.9 - T22 | T1.9 - T22 |
Close Focus(2): | 0.65 m / 2'3" | 0.75 m / 2'6" | 0.70 m / 2'4" | 0.75 m / 2'6" | 0.90 m / 3' |
Magnification Ratio(3): | H: 1:32.3 V: 1:16.4 | H: 1:32.3, V: 1: 16.1 | H: 1:25.6, V: 1: 12.8 | H: 1:22.2, V: 1: 11.1. | H: 1:24.3, V: 1: 12.2 |
Length(4): | 183 mm / 7.2" | 183 mm / 7.2" | 183 mm / 7.2" | 183 mm / 7.2" | 183 mm / 7.2" |
Length(12): | 235 mm / 9.3" | 235 mm / 9.3" | 235 mm / 9.3" | 235 mm / 9.3" | 235 mm / 9.3" |
Entrance Pupil(6) (mm): | -188 | -179 | -177 | -171 | -152 |
Entrance Pupil(6) (inch): | -7.04 | -7.04 | -6.96 | -6.75 | -5.99 |
Angle of view H - V Super 35 Cinemascop(8) ID = 29.26 mm(7) | 78° - 36° | 65° - 30° | 59° - 26° | 48° - 21° | 41° - 18° |
Maximum Housing Diameter: | 114 mm / 4.5" | 114 mm / 4.5" | 114 mm / 4.5" | 114 mm / 4.5" | 114 mm / 4.5" |
Front Diameter(5): | 114 mm / 4.5" | 95 mm / 3.7" | 95 mm / 3.7" | 95 mm / 3.7" | 95 mm / 3.7" |
Weight: | 2,5 kg / 5,5lb | 2,6 kg / 5,7lb | 2,7 kg / 6lb | 2,6 kg / 5,7lb | 2,7 kg / 6lb |
Item number meter: | K2.0010083 | K2.47957.0 | K2.47958.0 | K2.47959.0 | K2.47960.0 |
Item number feet: | K2.0010082 | K2.47542.0 | K2.47943.0 | K2.47944.0 | K2.47945.0 |
Name: | Master Anamorphic MA 75/T1.9 | Master Anamorphic MA 100/T1.9 | Master Anamorphic MA 135/T1.9 | Master Anamorphic MA 180/T2.8 |
Lens Mount(1): | PL LDS | PL LDS | PL LDS | |
Aperture: | T1.9 - T22 | T1.9 - T22 | T1.9 - T22 | T2.8 - T22 |
Close Focus(2): | 0.90 m / 3' | 0.95 m / 3'1'' | 1.20 m / 3'11" | 1.5 m / 5' |
Magnification Ratio(3): | H: 1:19.6, V: 1: 9.8 | H: 1:14.7, V: 1: 7.4 | H: 1:15.6, V: 1: 7.8 | H: 1:15.9 V: 1:7.9 |
Length(4): | 183 mm / 7.2" | 210 mm / 8.1'' | 226 mm / 9.1" | 226 mm / 9.1'' |
Length(12): | 235 mm / 9.3" | 262 mm / 10.2'' | 278 mm / 10.7" | 278 mm / 10.7'' |
Entrance Pupil(6) (mm) | -137 | -146 | -129 | -98 |
Entrance Pupil(6) (inch) | -5.38 | -5.74 | -5.09 | -3.86 |
Angle of view H - V Super 35 Cinemascope(8) ID = 29.26 mm(7) | 33° - 14° | 25° - 11° | 19° - 8° | 14° - 6° |
Maximum Housing Diameter: | 114 mm / 4.5" | 114 mm / 4.5" | 114 mm / 4.5" | 114 mm / 4.5" |
Front Diameter(5): | 95 mm / 3.7" | 95 mm / 3.7" | 95 mm / 3.7" | 95 mm / 3.7" |
Weight | 2,6 kg / 5,7lb | 3,1 kg / 6,8lb | 3,8 kg / 8,4lb | 3,2 kg / 7,1lb |
Item number meter | K2.47961.0 | K2.47962.0 | K2.47963.0 | K2.0010085 |
Item number feet | K2.47946.0 | K2.47947.0 | K2.47948.0 | K2.0010084 |
(1) Positive locking (PL) 54 mm stainless steel lens mount with Lens Data System (LDS) contacts
(2) Close focus is measured from the film/sensor plane
(3) Magnification ratio is the relationship of the size of an object on the film/sensor plane (first number) to the size of that object in real life (second number) at the close focus setting; Horizontal (H) and vertical (V)
(4) Length is measured from the lens mount to the front of the lens housing
(5) Diameter of the lens/matte box interface
(6) The distance from the entrance pupil to the film/sensor plane at focus = infinity. Positive numbers indicated an entrance pupil behind, negative numbers indicated an entrance pupil in front the film/sensor plane. The entrance pupil (often mistakenly called "nodal point") is the center of perspective; moving the camera/lens system around the center of the entrance pupil prevents parallax errors. While largerly irrelevant for live action, this measurement is important for special effects work.
(8) Horizontal (H) and vertical (V) angles of view for a Super 35 Cinemascope camera aperture (dimensions 22,5mm x 18,7mm / 0.8858" x 0.7362")
(12) Length is measured from the image to the front of the lens housing
