Having just finished the prototype a few days earlier, Zeiss’ Anna Rausch was able to show off the upcoming Master Anamorphic 135 lens from the ARRI/ZEISS Master Anamorphic series.
The final lens out of the seven lens series of the master anamorphic series, the master anamorphic 135 produces fantastic images, with very low distortion, cinematic bokeh, and precise color rendition. While the master anamorphic 135 is optimized for 4:3 ARRI cameras, you can also utilize it on other cameras. However, Rausch notes that the 135 will not be able to take full advantage of other cameras’ sensors.
As Rausch mentions in our interview, ARRI is Zeiss’ exclusive partner in the Master Anamorphic lens series, handling the sales and marketing end. So for more information beyond our interview above, please visit www.Arri.com
At the time of our interview, Rausch was unable to speak about several productions currently utilizing the master anamorphic lenses. However we were able to track down several video from ARRI that showcase the power of this series of lenses:
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.
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.
Cinematographer Sheng Lu combined ARRI/ZEISS Master Anamorphic lenses with an ALEXA M on the short film I SEE, which he shot in Baotou, China. Finding that he could work in very low lighting conditions with the T1.9 lenses, Lu was pleased with the Master Anamorphics’ performance across the T-stop range and to the very corners of the image.