The new Master Prime 14 mm and 150 mm lenses exhibit all the features that have endeared the Master Primes to cinematographers worldwide. They have superior optical performance, including a sharp, high contrast image, dramatically reduced flare, minimized chromatic aberrations and an even illumination of the whole Super 35 negative. They are equipped with an extended iris range (T1.3 to T22) and show virtually no breathing. A large barrel with an extended focus scale featuring big focus marks and the ARRI Lens Data System provide improved handling on the set.
The Master Primes are a family of high speed, high performance lenses that can be used in any lighting situation. Many commercials and feature films — including the Oscar-winning The Departed — have used the Master Primes. In the course of conversations with cinematographers, ARRI often heard the request for a wider and a longer focal length for the Master Primes.
Master Prime 14 mm
The Master Prime T1.3/14 mm completes the Master Prime family of lenses on the wide end. Creating a virtually distortion-free wide angle lens with a maximum aperture of T1.3 is an almost impossible task. Nonetheless, the Zeiss engineers tackled the problem and were able to create a lens that not only has a rectilinear image geometry (straight lines stay straight), but also exhibits brilliant optical quality at T1.3. The key was the use of aspherical glass surfaces, a technique requiring high precision and a complex holographic measuring process developed specifically for the Master Primes.
Master Prime 150 mm
Compressing the third dimension and creating an extremely shallow depth of field is often the desire of a director of photography in feature films and commercials. Traditionally, the movie industry has adapted fast telephoto lenses from 35 mm still photography. These lenses and the images that they created were often a compromise in terms of sharpness, brilliance and color saturation. The Master Prime 150 mm was designed from scratch to deliver telephoto images of stunning quality, covering the whole Super 35 image area with an image of the highest optical quality, even at T1.3.
All Master Primes are Super Color Matched to each other, to the Ultra Primes, to the Ultra 16 lenses and to the Lightweight Zoom, so the cinematographer is able to concentrate on creative color timing rather than matching lenses in post.
Whenever and wherever you want to shoot, this extended set of Master Primes opens up new creative possibilities for innovative shots of unprecedented optical quality.