ARRI发布全新Master Anamorphic眩光镜片套装
ARRI全新发布的Master Anamorphic眩光镜片套装是一套高度多样化，却又经济实惠的附件套装，适用于ARRI/蔡司Master Anamorphic变形镜头系列。七颗Master Anamorphic镜头都有属于自己的眩光镜片套装，每套包含一片前端镜片和一片后端镜片。更换简便，镜片可独立或同时使用，可为镜头提供三种不同的影像风貌，为您的现场创作增添姿彩。
自2013年问世以来，Master Anamorphic系列一直是电影电视业界最为先进的变形镜头。结合了紧凑的体积，轻巧重量，无畸变的光学表现与无与伦比的全系列T1.9大光圈，MA系列的使用起来如同传统的球面镜头一样快速便捷，这也代表了变形宽银幕摄影的一大进步。
大多数拍摄场合下，摄影师和视觉特效总监都非常欣赏Master Anamorphic变形镜头的消除眩光与反光的光学设计与镀膜技术。但在某些时候，这些技术上“不完美”的眩光却是摄影师所用来渲染单个镜头、场景或整个影片画面气氛的重要因素。这就是Master Anamorphic眩光镜片套装的设计初衷。
每一套眩光镜片套装内含的前镜和后镜具备特别设计的镜头镀膜，能够增加眩光、鬼影和蒙纱效果的强度。这些画面效果会创造出一种特别的视觉风格，所有的眩光镜片套装的效果都能保持统一，且可通过光圈设置和光源的角度来控制。前端镜片或后端镜片可独立使用，也可以组合使用。任一情况都会制造出独特的视觉风貌，且不会牺牲Master Anamorphic系列所著称的画面分辨率，无几何畸变或整体的光学性能。
通过使用全新的ARRI Master Anamorphic变形镜头工具套装（需另购，与所有七款眩光镜片套装兼容），由于每一个眩光镜片已经与金属框架调直，因此用户可方便地自行更换前端或后端镜片，仅需几分钟时间。无论是用于拍摄电影、电视剧、MV或广告，Master Anamorphic眩光镜片套装可使租赁公司便捷地为变形宽银幕的拍摄提供更大的创作自由。一套Master Anamorphic可快速地变成四套具备不同效果的镜头，每一套都能够满足不同的眩光要求，同时避免市场上其他变形镜头的弯曲横线（畸变）、调焦呼吸、“胖脸”和“枕垫”等画质劣化现象。
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NEW MASTER ANAMORPHIC FLARE SETS ANNOUNCED
The new ARRI Master Anamorphic Flare Sets are highly versatile and economical accessories for the ARRI/ZEISS Master Anamorphic lens series. Each of the seven Master Anamorphic focal lengths has its own specific flare set, comprising easily replaceable front and rear glass elements that can be used individually or in combination to provide the lens with three additional looks for enriched on-set creativity.
Since their introduction in 2013, the Master Anamorphic lenses have established themselves as the most advanced anamorphic optics ever designed for the film and television industry. Offering a perfect combination of compact form factor, minimal weight, distortion-free optical performance and an unparalleled high speed of T1.9 across the entire focal length range, they are as fast and easy to use as spherical cine lenses and represent a major step forward in anamorphic cinematography.
For most shooting situations, cinematographers and also VFX supervisors appreciate how effectively the Master Anamorphic optical design and coating technology suppress flares and reflections. Under certain circumstances, however, flares might be exactly what a cinematographer wants in order to heighten the emotional impact of a shot, sequence or project by introducing a level of technical ‘imperfection.’ It is for these situations that the Master Anamorphic Flare Sets have been designed.
The front and rear glass elements that come with each flare set have a special lens coating that encourages flaring, ghosting and veiling glare. These image effects create a visual style that is consistent across all of the flare sets and can be controlled or tweaked via the iris setting, as well as the positioning of lighting fixtures. The front element can be used on its own, as can the rear, or they can be used in combination; each permutation provides a distinct look without sacrificing the resolution, lack of distortion or corner-to-corner optical performance for which the Master Anamorphics are famous.
By using the new ARRI Master Anamorphic Toolkit (purchased separately but compatible with all seven flare sets), 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. Whether for a feature film, TV show, music video or commercial, the Master Anamorphic Flare Sets give rental facilities a quick and cost-effective way of offering anamorphic productions greater on-set creativity. A set of Master Anamorphics effectively becomes four different sets, each suitable for different flaring requirements while maintaining the huge advantage of being freer from distortions such as curved horizons, focus breathing and ‘mumps’ and ‘pincushion’ effects than any other anamorphic lenses on the market.
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