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.
Credits
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-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 |
