![]() ![]() There are some images later in this article that better illustrate this.ĪRRI Signature Primes are engineered to be smooooooth. These Ultra Prime highlights look reasonably modern, but to me, they also have a hint of 1980s ARRI Zeiss Super Speed in them. Highlights may have rough edges due to chromatic aberration, or hot and/or dark centers due to spherical aberration. Modern lenses favor soft highlights that are evenly illuminated, but vintage lenses are a little sloppy. It’s not perfect, which gives it a vintage feel. Sadly, I didn’t have a 40mm Ultra Prime, so the 32mm will have to do. In this case, a 40mm Ultra Prime and 40mm Master Anamorphic prime cropped to 16:9 would have matched exactly, at least in frame height. This is not the case in film, where Academy aperture and anamorphic frame sizes are different heights. In UHD mode on the Alexa LF, the portion of the sensor used for capture is exactly the same height regardless of whether spherical or anamorphic lenses are used. The 32mm ARRI Zeiss Ultra Prime is the closest match I had in my kit to the 40mm Master Prime. Note: I cropped the 2.39:1 image to 16:9 to facilitate comparison with the other lenses. Master Anamorphics are great lenses for a clean, crisp look with little-to-no focus breathing and great flare control while retaining the characteristic anamorphic oval-highlight look. There are many tricks to get around this, but ARRI’s method of distributing the 2:1 squeeze across a number of internal elements is the most complex and effective. In the distant past, anamorphic lenses suffered from the “anamorphic mumps,” where close focus had a tendency to make things appear wider, such as faces. This ensures that the squeeze is consistent as focus changes. Master Prime anamorphic lenses are more complex than typical anamorphic lenses in that the squeeze happens a little at a time across a number of different elements, rather than all at once due to a cylinder placed at the front or rear of the lens. Because the vertical 40mm axis goes out of focus more quickly than the horizontal 20mm axis, the highlights take on an oval shape as they blur more quickly in that dimension. The creates the 2:1 squeeze found in traditional S35 anamorphic lenses. This 40mm Master Anamorphic lens is really two lenses in one: a 40mm lens in the vertical dimension and a 20mm lens in the horizontal dimension. A small antique statue serves as the focal point and a Christmas tree provides some reference highlights.Īnamorphic bokeh is very distinct. It’s the backdrop against which stories unfold.īokeh is always most dramatic when a lens’s aperture is wide open, so that’s what I did here. Bokeh can be hard, soft, colorful, distorted, high resolution or low resolution. We naturally look at whatever is sharpest within the frame, but bokeh can direct attention to the subject or distract from it. Bokeh, or the quality of the out-of-focus image, has a strong impact on any image, and yet we are often not consciously aware of its effects. I’m less concerned about how these lenses look at the point of focus and more interested in how they render backgrounds. The goal: shoot a variety of settings with three different types of lenses and define the differences. In this article, I’m going to start out in the same place but travel further afield. In this article, I wrote about the experiments I carried out in my living room with an Alexa LF and three kinds of lenses: ARRI Zeiss Ultra Primes, ARRI Signature Primes, and a single ARRI Zeiss Anamorphic Master Prime. I borrow a half million dollars worth of camera and lenses and shoot whatever comes to mind. Some people take time off during the holidays. ![]()
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