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