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Arri Master Anamorphic 100/T1.9 M
The ARRI Master Anamorphic lenses are the result of ARRI's long-term cooperation with Carl Zeiss. The new anamorphic lenses offer unique optical performance with optimized flare and bokeh as well as a state-of-the-art lens mount that offers protection against dust and water. All nine lenses of the Master Prime series (available in 28, 35, 40, 50, 60, 75, 100, 135 and 180mm) offer exceptional image quality and the latest anamorphic technology for images without distortion and anamorphic image pumping ("mumps" effects - Widening of faces). The almost telecentric optical design reduces color fringing and shading in the corners of the images.
The Master Anamorphic Lenses are the first anamorphic lenses designed from the ground up for modern digital cameras. Nevertheless, they work ideally with analog film cameras. In conjunction with ARRI's ALEXA 4: 3 cameras for exceptional image quality across the entire image. The Master Anamorphic lenses are optimized for an aesthetic look and have evenly illuminated oval highlights outside the focus area without sharp edges thanks to the newly developed 15-blade aperture system.
With its nine powerful fixed focal lengths, the Master Anamorphic series from ARRI has taken a significant step forward in technology and manageability for anamorphic image recording with digital and film cameras in 35mm format.
For the first time it was possible to combine compactness, low weight, high light intensity, exceptional image quality and minimal distortion in an anamorphic series. The ARRI Master Anamorphics bring beautiful blur areas in the background and a soft, cinematic look, and at the same time they are just as quick and easy to use on set as other modern cine lenses.
Features
- 100 mm T1.9 fixed focal length with PL LDS mount
- Low distortion for real cinemascope
- Bokeh (blurring behavior) in the cinema look with high contrast and a pleasant transition to blurring
- Beautiful skin tones and precise color rendering
- Typical for Cinemascope: In the blur, highlights are reproduced oval
- Large image field for complete freedom in image composition
- Large aperture of T1.9 for shallow depth of field
- PLS LDS (Lens Data System) steel mount with communication interface
- ARRI Lens Data System (LDS) for lens metadata
- Almost no image pumping and no anamorphic image pumping (wide faces)
- The color characteristics are perfectly matched to the other ARRI / ZEISS primes and ARRI / Fujinon zooms
The ARRI Master Anamorphic lenses are the result of ARRI's long-term cooperation with Carl Zeiss. The new anamorphic lenses offer unique optical performance with optimized flare and bokeh as well as a state-of-the-art lens mount that offers protection against dust and water. All nine lenses of the Master Prime series (available in 28, 35, 40, 50, 60, 75, 100, 135 and 180mm) offer exceptional image quality and the latest anamorphic technology for images without distortion and anamorphic image pumping ("mumps" effects - Widening of faces). The almost telecentric optical design reduces color fringing and shading in the corners of the images.
The Master Anamorphic Lenses are the first anamorphic lenses designed from the ground up for modern digital cameras. Nevertheless, they work ideally with analog film cameras. In conjunction with ARRI's ALEXA 4: 3 cameras for exceptional image quality across the entire image. The Master Anamorphic lenses are optimized for an aesthetic look and have evenly illuminated oval highlights outside the focus area without sharp edges thanks to the newly developed 15-blade aperture system.
With its nine powerful fixed focal lengths, the Master Anamorphic series from ARRI has taken a significant step forward in technology and manageability for anamorphic image recording with digital and film cameras in 35mm format.
For the first time it was possible to combine compactness, low weight, high light intensity, exceptional image quality and minimal distortion in an anamorphic series. The ARRI Master Anamorphics bring beautiful blur areas in the background and a soft, cinematic look, and at the same time they are just as quick and easy to use on set as other modern cine lenses.
Features
- 100 mm T1.9 fixed focal length with PL LDS mount
- Low distortion for real cinemascope
- Bokeh (blurring behavior) in the cinema look with high contrast and a pleasant transition to blurring
- Beautiful skin tones and precise color rendering
- Typical for Cinemascope: In the blur, highlights are reproduced oval
- Large image field for complete freedom in image composition
- Large aperture of T1.9 for shallow depth of field
- PLS LDS (Lens Data System) steel mount with communication interface
- ARRI Lens Data System (LDS) for lens metadata
- Almost no image pumping and no anamorphic image pumping (wide faces)
- The color characteristics are perfectly matched to the other ARRI / ZEISS primes and ARRI / Fujinon zooms
|
Specifications |
|
Lens mount |
PL LDS |
|
cover |
T1.9 - T22 |
|
Close focus limit |
0.95 m |
|
Magnification ratio |
H: 1: 14.7 |
|
Length (mount to the front of the lens housing) |
210 mm |
|
Length (picture to the front of the lens housing) |
262 mm |
|
Front diameter (lens) |
95 mm |
|
Maximum diameter of the lens body |
114 mm |
|
Weight |
3.1 kg |
|
Entrance pupil (mm) |
-146 |
|
Field of view (HV) |
25 ° - 11 ° |
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Besoin d'aide,
- GE : + 41 22 561 07 07
- ZH : + 41 43 255 59 00
- TI : + 41 91 985 25 11
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