Master Anamorphic Lenses | Lenses

Master Anamorphic lenses represent a significant step forward in the technology and practicality of anamorphic cinematography for 35 format digital and film cameras.

The Master Anamorphic series comprises nine high-performance prime lenses ranging from 28 mm to 180 mm, accompanied by 1.4x and 2.0x ARRI ALURA LDS Extenders that lengthen the telephoto reach to 360 mm. Complementing the primes at the other end of the focal length scale is ARRI’s unique Anamorphic Ultra Wide Zoom AUWZ 19-36/T4.2, which allows extraordinary wide-angle shots with minimal distortion and uniform field illumination.

Perfectly combining compact size, minimal weight, very high speed, and exceptional optical design, the Master Anamorphics deliver beautiful out-of-focus backgrounds and a smooth, cinematic look, while being as fast and easy to use on set as other modern cine lenses.

ARRI Master Anamorphic Cinema Lens 135mm at T1.9-M

Credits

L'Isola Delle Rose

Corpus Christi

Terminator: Dark Fate

Good Boys

John Wick: Chapter 3 - Parabellum

Call me King

Allegiant

ICE

Star Trek: Beyond

Malaria

Collateral Beauty

I'm off then

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

ARRI-MASTER-ANAMORPHIC-FLARE-SET-50mm-Zeiss Anamorphic cinema lens

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)

ARRI Zeiss master_anamorphics_lenses used by Cinematographer Reed Morano

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)

ARRI master_anamorphics_stijn_van_der_veken_sbc cinema lens

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)

ARRI master anamorphics cinema lens used by Cinematographer Michael Khasaya

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)

master_anamorphic zeiss cinema lens_michel_abramowicz

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-1	PL LDS-1	PL LDS-1	PL LDS-1	PL LDS-1
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

Video Room

THE RIDE: Master Anamorphic cinema lenses showreel

Dec. 13, 2018

THE RIDE: Master Anamorphic showreel

THE RIDE is a short film that was directed and shot on location in Los Angeles by cinematographer Karl Walter Lindenlaub, ASC, BVK, using an ALEXA and the MA35, MA50 and MA75 ARRI/ZEISS Master Anamorphic lenses. Lindenlaub was especially impressed by the consistency and lack of distortion of the Master Anamorphics. "Round the Moon" performed by Summer Camp, courtesy of Moshi Moshi Records.

Dec. 13, 2018

A TRIP TO REMEMBER: ARRI ZEISS Master Anamorphic 50mm

Director Roberto de Angelis and DP Michel Abramowicz, AFC, recently used a 50 mm ARRI/ZEISS Master Anamorphic lens on a short film titled A TRIP TO REMEMBER. The short was shot over three days on location in Paris. Combining the Master Anamorphic with an ARRI ALEXA camera, the team put ARRI's new state-of-the-art lens through its paces and found that it combined the convenience of modern design with the unmistakably cinematic look of classic 'scope' movies.

Dec. 13, 2018

Master Anamorphic Flare Sets showreel

Tokyo-based production and shooting support company Digital Garden recently produced a showreel to demonstrate the creative possibilities of its Master Anamorphic Flare Sets, which were the first to arrive in Japan. Cinematographer Takehiko Fukae, working with director Shinichi Takamura and DIT Tatsuo Sasaki, combined the Master Anamorphics with ALEXA XT and ALEXA Mini cameras.