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Master Anamorphic Lenses

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Category: Prime Lenses
Brand: ARRI
Code: Master Anamorphic Lenses

A range of seven high-performance prime lenses, the ARRI/ZEISS Master Anamorphic series represents a significant step forward in the technology and practicality of anamorphic cinematography for 35 format digital and film cameras.  For the first time, 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. At a glance:

  • 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

 
Name: Master Anamorphic MA 35mm/T1.9 Master Anamorphic MA 40mm/T1.9 Master Anamorphic MA 50mm/T1.9
Lens Mount (1): PL LDS PL LDS PL LDS
Aperture: T1.9 - T22 T1.9 - T22 T1.9 - T22
Close Focus (2): 0.75 m / 2'6" 0.70 m / 2'4" 0.75 m / 2'6"
Magnification Ratio (3): H: 1:32.3, V: 1: 16.1 H: 1:25.6, V: 1: 12.8 H: 1:22.2, V: 1: 11.1.
Length (4): 183 mm / 7.2" 183 mm / 7.2" 183 mm / 7.2".
Length (12): 236 mm / 9.3" 236 mm / 9.3" 236 mm / 9.3"
Front Diameter (5): 95 mm / 3.7" 95 mm / 3.7" 95 mm / 3.7"
Maximum Housing Diameter: 114 mm / 4.5" 114 mm / 4.5" 114 mm / 4.5"
Weight (kg): 2,6 2,7 2,6
Weight (lbs): 5,7 6 5,7
Entrance Pupil (6) (mm): 178,7 176,9 171,5
Entrance Pupil (6) (inch): 7,040 6,929 6,75
Angle of view H - V
Super 35 Cinemascope (8)
ID = 29.26 mm (7):
65.47° - 29.91° 58.72° - 26.31° 48.46° - 21.18°
       
Name: Master Anamorphic MA 60mm/T1.9 Master Anamorphic MA 75mm/T1.9 Master Anamorphic MA 100mm/T1.9
Lens Mount (1): PL LDS PL LDS PL LDS
Aperture: T1.9 - T22 T1.9 - T22 T1.9 - T22
Close Focus (2): 0.90 m / 3' 0.90 m / 3' 0.95 m / 3'1''
Magnification Ratio (3): H: 1:24.3, V: 1: 12.2 H: 1:19.6, V: 1: 9.8 H: 1:14.7, V: 1: 7.4
Length (4): 183 mm / 7.2" 183 mm / 7.2" 206 mm / 8.1''
Length (12): 236 mm / 9.3" 236 mm / 9.3" 259 mm / 10.2''
Front Diameter (5): 95 mm / 3.7" 95 mm / 3.7" 95 mm / 3.7"
Maximum Housing Diameter: 114 mm / 4.5" 114 mm / 4.5" 114 mm / 4.5"
Weight (kg): 2,7 2,6 3,1
Weight (lbs): 6 5,7 6,8
Entrance Pupil (6) (mm): 152,2 136,7 145,9
Entrance Pupil (6) (inch): 5,984 5,380 5,709
Angle of view H - V
Super 35 Cinemascope (8)
ID = 29.26 mm (7):
41.11° - 17.71° 33.40° - 14.21° 25.36° - 10.68°
       
Name: Master Anamorphic MA 135mm/T1.9    
Lens Mount (1): PL LDS    
Aperture: T1.9 - T22    
Close Focus (2): 1.50 m / 5'    
Magnification Ratio (3): tbd    
Length (4): tbd    
Length (12): tbd.    
Front Diameter (5): tbd.    
Maximum Housing Diameter: tbd.    
Weight (kg): tbd.    
Weight (lbs): tbd.    
Entrance Pupil (6) (mm): tbd.    
Entrance Pupil (6) (inch): tbd.    
Angle of view H - V
Super 35 Cinemascope (8)
ID = 29.26 mm (7):
18.92° - 7.92°    

(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 in front, negative numbers indicated an entrance pupil behind 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.

(7)   The image diameter (ID) is the diameter of the image circle needed for the respective format. These lenses are designed for the largest ID given here. 

(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

Main Features

  • Seven high performance anamorphic primes from 35 to 135 mm

  • Super color matched to other ARRI/ZEISS primes and ARRI/Fujinon zooms

  • Optimized anamorphic bokeh:

    • evenly illuminated oval out-of-focus highlights

    • newly developed iris with 15 aperture blades

  • Pleasant out-of-focus areas with traditional anamorphic look and a unique image language

  • Outstanding overall image quality with ARRI ALEXA 4:3 cameras

  • Revolutionary new optical technology in anamorphic lenses:

    • virtually no image breathing

    • no anamorphic mumps (fat face effect)

  • The first anamorphic lenses to be designed from scratch for modern digital cameras, although they will work with analog film cameras as well

  • Completely new focusing mechanism that overcomes time-consuming mechanical readjustments on the set

  • Near telecentric optical design, which reduces color fringing and shading at the image corners

  • Compact form factor:

    • front diameter 95 mm

    • maximum weight approx. 3 kg

    • very high T-stop of 1.9 for all 7 focal lengths

  • ARRI Lens Data System (LDS) for lens metadata

  • Reliable mechanics 

  • Master Anamorphic Lenses

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