ARRI-MASTER-ANAMORPHIC-135-T1.9-M

Master Anamorphic Lenses

The ARRI 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.

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

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

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

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

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

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 LDSPL LDSPL LDS

PL LDS

PL LDS

Aperture:

T1.9 - T22T1.9 - T22T1.9 - 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/T1.9

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 

Video Room

THE RIDE: Master Anamorphic showreel - Thumbnail
2018-12-13

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.

A TRIP TO REMEMBER: ARRI ZEISS Master Anamorphic 50mm - Thumbnail
2018-12-13

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.

Master Anamorphic Flare Sets showreel - Thumbnail
2018-12-13

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.

Downloads

04 Dec 2018
ARRI Lenses Brochure
25 Nov 2018
Master Anamorphic product leaflet
25 Nov 2018
Master Anamorphic depth-of-field-table feet
25 Nov 2018
Master Anamorphic depth-of-field-table meter
25 Nov 2018
Master Anamorphic Flare Sets product leaflet