Arri-news 2014

We had the 35 mm, 50 mm, 75 mm and 100 mm, and aside from the 100 mm being slightly heavier, they all weighed the same. This was great because we didn’t have to rebalance the camera as we switched lenses. We could also use the same-sized matte box because the Master Anamorphics have the same front diameter. Our days were very ambitious, so speed was definitely a good thing.” The relatively light weight of the Master Anamorphics was another useful feature. “Some older anamorphic lenses are much bigger and heavier,” says Dunkerley. “The Master Anamorphics are great for handheld work and our Steadicam operator Ari Robbins loved working with them.” For night driving scenes, the crew often worked in low light conditions. “In some locations we used practicals supplemented by just a couple of small Kinos, with bigger units further away,” says Dunkerley. “With most anamorphic lenses you need to shoot about a T4 or T4.5 to get a crisp image, but with the Master Anamorphics I was able to shoot wide open and the image looked fantastic. I couldn’t believe how well the lenses held up and just how great the colors matched.” Debra Kaufman “I couldn’t believe how well the lenses held up and just how great the colors matched.” Photo: Chris Frawley ARRI NEWS 35