What thoughts did you have when choosing the ARRI/ZEISS Master Anamorphic lenses?

As I have already mentioned, the project was envisioned as a cinematic commercial-video game. After some tests, we all agreed that an anamorphic format would be the most suitable. Anamorphic lenses were the most helpful in depicting and capturing these extraordinary buildings.

How would you describe the Master Anamorphic lenses after shooting with them?

As agreed with the director, our one main goal was to receive as simple and transparent an image as possible. We had to avoid unexpected flares, aberrations in case of wide-angle lenses, softness. Everything should be realistic, as well as cinematic and artistic. We were only able to achieved this result with the Master Anamorphic lenses.

It seems that you appreciate ARRI. Why do you rely on ARRI products?

I can describe ARRI in two words—reliability and quality. Every camera, along with everything else the company produce, is super dependable; they are created and made to bring out the cinematographer’s best practices. This high-quality standard helps us to achieve our goals easily. I am so accustomed to the ALEXA that I cannot imagine working with any different camera. I am the owner of three ALEXAs. Now we have a Mini LF in our family and it is already working on a new film; I am totally impressed with its capabilities.