Master Macro 100
Master Macro 100
Close-Up on Quality
2
ARRI | Master Macro 100
Master Macro 100
For those who want the ultimate in image quality for table top
cinematography, product shots, close-up inserts on feature
films or any other applications that require a macro lens, the
Master Macro 100 delivers images of breathtaking beauty.
Designed for the ANSI Super 35 image format, the Master
Macro 100 can be used on any PL mount 35 mm film and
single sensor digital camera. In addition it can be used on PL
mount 16 mm film and single sensor 16 mm or 2/3” format
digital cameras.
With a 1:1 magnification ratio, a maximum aperture of T2.0
and an optical design developed specifically for macro work,
the Master Macro delivers phenomenally sharp and contrasty
images with vibrant colors for extreme close-ups of the
highest visual quality.
CLOSE-UP ON QUALITY
An image created with the M as te r M ac ro 100 and the A R R IF LEX D - 21
3
It’s all in the Family
ARRI and ZEISS have teamed up again to expand the Master
Prime series - the most sophisticated 35 format lenses ever
manufactured - with a spectacular macro lens. In the creation
of the Master Macro 100, the same state-of-the-art technologies from the Master Primes have been used. These include
exotic glass materials, special lens coatings and aspherical
surfaces, which require ultra-high precision in design and
manufacture. Thus the Master Macro not only surpasses all
other macro lenses, but also creates images that perfectly
match those of the other Master Prime lenses.
The Master Primes Series
T1.3/14 mm
T1.3/16 mm
T1.3/35 mm
T1.3/18 mm
T1.3/40 mm
T1.3/21 mm
T1.3/50 mm
T1.3/25 mm
T1.3/65 mm
T1.3/27 mm
T1.3/75 mm
T1.3/32 mm
T1.3/100 mm
T1.3/150 mm
Custom Developed
for Professional Cinematography
While a quick close-up can always be grabbed by using a Master
Prime with a Master Diopter, the Master Macro 100 is the tool of
choice for the best image quality in extreme close-ups. Unlike most
other macro lenses, the Master Macro 100 has been designed and
built specifically for close-up motion picture cinematography. The
result is a lens that meets the highest demands in image quality
and handling.
4
ARRI | Master Macro 100
Main Features
n Dedicated to Motion Picture Macro Work
· 100 mm macro lens with 1:1 magnification ratio
· novel optical design optimized for close-up work
· specifically created for cine applications
· Wide T-stop range: T2.0 (infinity)/T4.3 (close focus) to T32
n Master Prime Optical Quality
· based on Master Prime technology
· high resolution, high contrast
· dramatically reduced flare
· brilliant, vibrant colors
· low geometric distortion
· minimized chromatic aberration
· Super Color Matched to Master Primes, Ultra Primes,
Ultra 16 lenses, Lightweight Zoom LWZ-1
n Master Lens Ergonomics
· long focal length allows greater distance to subject
· expanded focus scale (1.4x revolutions) for greater accuracy
· individually calibrated focus scale
· simple and robust construction
(no mechanical exposure compensation)
· can be used with lens motors
· focus and iris scales in standard Master Prime positions
n Lens Data System
· LDS for display of T-stop compensation on WRC-2
· optional electronic exposure compensation with lens motors
5
A n i m age s ho t w i th the M as te r M ac ro 1 0 0 a n d t h e D-2 1
Focused on Macro Work
Most macro lenses are visibly darker and softer in the corners. The
Master Macro 100, however, exhibits an extremely even illumination
across the whole Super 35 frame and retains high resolution all the
way from the center to the edges. Even better, through its novel
design it is optimized to deliver this performance wide open and at
its closest focus setting (1:1 magnification ratio) for a rich image with
high contrast and lots of definition in shadows and highlights. Since it
is a 100 mm telephoto lens, there is ample room in front of the lens to
position the object to be captured and to set lighting instruments.
A n i m age s ho t w i th the M as te r M ac ro 1 0 0 a n d t h e D-2 1
The Master Macro 100 is Super Color Matched to the other Master
Primes, Ultra Primes, Ultra 16 lenses, Lightweight Zoom LWZ-1 and
Master Diopters, so the cinematographer can craft a look on the set
rather than matching lenses in post. Additionally, the iris opening of
the Master Macro consists of nine high precision leaves, resulting
in round and natural-looking out-of-focus highlights and an organic
bokeh.
With this unique consistency across frame, aperture, focus range and
color balance, cinematographers can concentrate on the images they
want to create instead of having to adjust their style to the shortcomings of their lenses.
6
The s am e i m age s ho t w i th a c o nve nti o na l ma c ro le n s
ARRI | Master Macro 100
A n i m age s ho t w i th the M as te r M a c ro 1 0 0 a n d t h e D-2 1
Close-Ups of Breathtaking Quality
The use of aspherical lens surfaces and exotic glass types
with anomalous partial dispersion, like fluor crown and
barium dense flint, greatly reduces chromatic aberration
(color fringes). Modern optical design techniques ensure
the optimal light path for reduced stray light and minimized geometric distortion, another feature the Master
Macro 100 shares with the Master Primes.
The front element of the Master Macro is set back within
the lens housing, which protects it from the reflected
light that can so often be a problem when lighting subjects positioned close to the front of a lens. In effect, the
forward section of the lens acts as a shade, absorbing
any stray light.
This, in combination with the T* XP anti-reflection
coating, strategically painted lens rims and special light
The T* XP anti-reflex coating reduces veiling glare and
internal reflections, and creates a pleasing, gentle color
balance. Compared to conventional coatings it has a better
traps, means that cinematographers may spend far less
transmission and a more uniform performance across the
time worrying about unwanted light on the image than
lens from optical center to the edges, resulting in higher
with any other macro lens. It also means that the Master
contrast and deeper, richer blacks.
Macro 100 exhibits unsurpassed contrast, low veiling
glare and rich, vibrant colors.
7
Lens Data System
In order to maximize ruggedness and versatility,
the Master Macro 100 has been constructed
without mechanical exposure compensation.
Instead, iris adjustments that compensate for
light loss at close focus distances can be made
by hand, or optionally by a lens motor.
Since the Master Macro 100 is compatible with
the ARRI Lens Data System (LDS), it is able to
communicate electronically with ARRI cameras.
The Wireless Remote Control WRC-2
is used to control camera and lens,
This allows the required T-stop compensation
and displays lens and camera status
to be displayed on the Wireless Remote Control
information, including the close-up
WRC-2 or to be automatically applied by the
ARRI lens motors as focus is adjusted.
8
exposure compensation needed when
shooting macro shots with the
Master Macro 100.
ARRI | Master Macro 100
Master Lens Ergonomics
Camera assistants will appreciate the expanded focus scale (512 degrees =
1.4x revolutions) for greater focusing accuracy, an especially important subject with macro lenses. Each focus scale is individually calibrated and lists
focus distance as well as magnification ratio and exposure compensation in
large fluorescent markings for better visibility in low light conditions.
To allow assistants to work quickly and comfortably with the Master Macro
100, the shape of the lens housing has been optimized for the greatest
number of lens motor combinations. All Master Primes use internal focusing
and their focus and iris rings are in the same position lens to lens. Matte box,
follow focus and lens motors need not be moved for each lens change.
Its rugged construction keeps the Master Macro 100 functioning even under
adverse environmental conditions. To avoid unsightly scratches, all gear
surfaces have been specially hardened with a Permadur™ surface treatment,
making them 10 times harder than traditional anodized gear rings.
9
Master Macro 100 – Show Reel
The first test shoot with the Master Macro was an
unequivocal success, and the stunning images
created can be seen as part of the Master Macro
100 show reel on the ARRI web site. Equally important, however, was the ease of use on the set.
Using the extra space in front of the lens afforded
by the 100 mm focal length, ARRI’s cinematographer Claus Richter placed the ARRI PAX LED lights
close to the subject to be captured, and used their
wireless color adjustment capability to precisely
dial in a wide range of colors right on the set.
You can watch the show reel online at:
www.arri.com/mastermacro
First Impressions by ARRI’s
Cinematographer Claus Richter
“
The Master Macro 100 is brilliant! In terms of sharpness, contrast
and color saturation it is in a completely different class than all other
macro lenses. And the combination of the Master Macro 100 with the
PAX LED lights was like having the full power of a color grading suite
on the set. It is fantastic to be able to try different color schemes right
there, without constantly changing gels.
Th e 1 00 m m foc a l le n g th is perfect fo r clo se product sho ts
10
„
The PA X /LED w i re l e s s re m o te u s e d fo r e as y c o l o r a djus t me n t s
ARRI | Master Macro 100
Technical Data
Name
Master Macro T2.0/100 mm
Type (1)
Makro-Planar T* XP
Lens Mout
PL-LDS
(2)
T2.0/T4.3 to T32
Aperture (3)
Close focus
0.35 m / 13 3/4"
(4)
Magnification ratio (5)
1:1
Length
(6)
202,7 mm / 8"
Front diameter (7)
114 mm / 4.5"
Weight
2.6 kg / 5.7 lbs
Horizontal angle of view ANSI Super 35 (8) ID = 31.14 mm (11)
Horizontal angle of view DIN Super 35
Horizontal angle of view Normal 35 (10)
Entrance pupil
(1)
(2)
(3)
(4)
(5)
(6)
(7)
(8)
(9)
(10)
(11)
(12)
(9)
ID = 30.00 mm
14.02°
(11)
13.52°
ID = 27.20 mm (11)
12.42°
77.1 mm / 3"
(12)
T* XP is the trademark of the ZEISS anti-reflection lens coating that significantly reduces veiling glare and other internal reflections.
XP stands for extended performance.
Positive locking 54 mm stainless steel lens mount with Lens Data System (LDS) contacts
Maximum aperture at infinity is T2.0, at close focus T4.3
Close focus is measured from the film/sensor plane
Magnification ratio is the relationship of the size of an object on film (first number) to the size of that object in real life (second number)
Lens length is measured from the lens mount to the front of the lens housing
Diameter of the lens/matte box interface. Maximum lens housing diameter for the Master Macro 100 is 138 mm.
Horizontal angle of view for an ANSI Super 35 Silent camera aperture (aspect ratio 1.33:1, dimensions 24.9mm x 18.7mm / 0.980" x 0.7362")
Horizontal angle of view for a DIN Super 35 Silent camera aperture (aspect ratio 1.33:1, dimensions 24mm x 18mm / 0.944" x 0.7087")
Horizontal angle of view for a Normal 35 Academy camera aperture (aspect ratio 1.37:1, dimensions 22mm x 16mm / 0.8661" x 0.6299")
The image diameter (ID) is the diameter of the image circle needed for the respective format.
The Master Macro 100 is designed for the largest ID given here (ANSI Super 35).
The distance from the entrance pupil to the film/sensor plane. 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.
Dimensions
Ident. Numbers
Master Macro 100 (meter scale)
K2.47572.0
Master Macro 100 (feet scale)
K2.47573.0
11
Germany
Arnold & Richter Cine Technik (Headquarters, Sales & Service)
Türkenstraße 89, D-80799 Munich, Germany
Tel: +49 (0)89 3809 0, Fax: +49 (0)89 3809 1245
Great Britain
ARRI GB Limited (Sales & Service)
2 Highbridge, Oxford Road, Uxbridge, Middlesex, UB8 1LX, Great Britain
Imaging Equipment Sales: Allan Fyfe, [email protected]
Tel: +44 (0)1895 457 000, Fax: +44 (0)1895 457 001
Italy
ARRI Italia S.r.l. (Sales & Service, Milan)
Viale Edison 318, 20099 Sesto San Giovanni (Milano), Italy
General Manager: Antonio Cazzaniga, [email protected]
Tel: +39 (02)262 271 75, Fax: +39 (02)242 1692
ARRI Italia S.r.l. (Sales & Service, Rome)
Via Placanica 97, 00040 Morena (Roma), Italy
Camera Sales: Mauro Sembroni, [email protected]
Tel: +39 (06)79 89 021, Fax: +39 (06)79 89 02 206
USA
ARRI Inc. (Sales & Service, East Coast)
617 Route 303, Blauvelt, NY 10913-1109, USA
Vice President: Jürgen Schwinzer, [email protected]
Tel: +1 (845)353 1400, Fax: +1 (845)425 1250
ARRI Inc. (Sales & Service, West Coast)
600 North Victory Blvd., Burbank, CA 91502-1639, USA
Vice President: Bill Russell, [email protected]
Tel: +1 (818)841 7070, Fax: +1 (818)848 4028
Canada
ARRI Canada Limited (Sales & Service)
415 Horner Ave. Unit 11 & 12, Toronto, Ontario M8W 4W3, Canada
Accounts Manager, Camera & Digital Systems:
Sébastien Laffoux, [email protected]
Tel: +1 (416)255 3335, Fax: +1 (416)255 3399
Asia
ARRI Asia Limited
3B, 29/F, The Centrium, 60 Wyndham Street, Central, Hong Kong
General Manager: Paul Ivan, [email protected]
Tel: +852 2571 6288, Fax: +852 2875 9181
Australia
ARRI Australia PTY Limited
Unit 6C, 5 Talavera Road, Macquarie Park NSW 2113, Sydney, Australia
General Manager: Stefan Sedlmeier, [email protected]
Tel: +61 (2)9855 4308, Fax: +61 (2)9855 4301
This Master Macro 100 product brochure (K5.40559.0) is published by Arnold & Richter Cine Technik, April 01, 2009 © ARRI/2009
Technical data and offerings are subject to change without notice. All rights reserved. Without any warranty. Not binding 04/2009. ARRI is a registered trademark of Arnold & Richter Cine Technik GmbH & Co. Betriebs KG.
Arnold & Richter Cine Technik GmbH & Co. Betriebs KG · Türkenstrasse 89 · D-80799 Munich · phone +49 (0)89 3809 0 · fax +49 (0)89 3809 1245 · www.arri.com
Was this manual useful for you? yes no
Thank you for your participation!

* Your assessment is very important for improving the work of artificial intelligence, which forms the content of this project

Download PDF

advertisement