ARRI 60mm T1.9 Master Anamorphic LensARRI 60mm T1.9 Master Anamorphic Lens

ARRI 60mm T1.9 Master Anamorphic Lens

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ARRI | 60mm T1.9 Master Anamorphic Lens

Low distortion for uncompromised cinemascope

ARRI 60mm Master Anamorphic Prime is a mid-range lens in a set of 9 lenses from ARRI MA.

Spectrum of nine high-performance prime lenses, the ARRI Master Anamorphic series represents a significant step forward in the technology and practicality of anamorphic cinematography for 35 format digital and film cameras.

A perfect combination of compact size, minimal weight, very high speed and exceptional optical design with negligible distortion has been achieved in a set of anamorphics. With beautiful out-of-focus backgrounds and a smooth, cinematic look, the Master Anamorphic lenses are fast and easy to use on set.

Designed for use with digital cameras like ARRI ALEXA / AMIRA, but would work with film cameras as well.

The anamorphic lenses offer a unique optical performance, with optimized flare and bokeh as well as state-of-the-art lens barrels featuring improved dust and water protection.

Main Features

  • Cinematic bokeh with high contrast and nice focus fall-off
  • Low distortion for uncompromised Cinemascope
  • Beautiful skin tones and precise colour rendition
  • Super colour matched to other ARRI/ZEISS primes and ARRI/FUJINON zooms
  • Characteristic out-of-focus highlights
  • Large image field for full freedom in composition
  • Large aperture of T1.9 for shallow depth of field
  • ARRI Lens Data System (LDS) for lens metadata
  • Flare set accessories for alternative looks

Name: Master Anamorphic MA 28/T1.9 Master Anamorphic MA 35/T1.9 Master Anamorphic MA 40/T1.9
Lens Mount (1): PL LDS PL LDS PL LDS
Aperture: T1.9 – T22 T1.9 – T22 T1.9 – T22
Close Focus (2): 0.65 m / 2’3″ 0.75 m / 2’6″ 0.70 m / 2’4″
Magnification Ratio (3): H: 1:32.3 V: 1:16.4 H: 1:32.3, V: 1: 16.1 H: 1:25.6, V: 1: 12.8
Length (4): 183 mm / 7.2″ 183 mm / 7.2″ 183 mm / 7.2″
Length (12): 235 mm / 9.3″ 235 mm / 9.3″ 235 mm / 9.3″
Front Diameter (5): 114 mm / 4.5″ 95 mm / 3.7″ 95 mm / 3.7″
Maximum Housing Diameter: 114 mm / 4.5″ 114 mm / 4.5″ 114 mm / 4.5″
Weight (Kg): 2,5 2.6 2.7
Weight (lb): 5,5 5.7 6
Entrance Pupil (6) (mm) -188 -179 -177
Entrance Pupil (6) (inch) -7,04 -7.04 -6.96
Angle of view H – V
Super 35 Cinemascope (8)
ID = 29.26 mm (7)
78° – 36° 65° – 30° 59° – 26°
Name: Master Anamorphic MA 50/T1.9 Master Anamorphic MA 60/T1.9 Master Anamorphic MA 75/T1.9
Lens Mount (1): PL LDS PL LDS PL LDS
Aperture: T1.9 – T22 T1.9 – T22 T1.9 – T22
Close Focus (2): 0.75 m / 2’6″ 0.90 m / 3′ 0.90 m / 3′
Magnification Ratio (3): H: 1:22.2, V: 1: 11.1. H: 1:24.3, V: 1: 12.2 H: 1:19.6, V: 1: 9.8
Length (4): 183 mm / 7.2″. 183 mm / 7.2″ 183 mm / 7.2″
Length (12): 235 mm / 9.3″ 235 mm / 9.3″ 235 mm / 9.3″
Front Diameter (5): 95 mm / 3.7″ 95 mm / 3.7″ 95 mm / 3.7″
Maximum Housing Diameter: 114 mm / 4.5″ 114 mm / 4.5″ 114 mm / 4.5″
Weight (Kg): 2.6 2.7 2.6
Weight (lb): 5.7 6 5.7
Entrance Pupil (6) (mm) -171 -152 -137
Entrance Pupil (6) (inch) -6.75 -5.99 -5.38
Angle of view H – V
Super 35 Cinemascope (8)
ID = 29.26 mm (7)
48° – 21° 41° – 18° 33° – 14°
Name: Master Anamorphic MA 100/T1.9 Master Anamorphic MA 135/T1.9 Master Anamorphic MA 180/T1.9
Lens Mount (1): PL LDS PL LDS
Aperture: T1.9 – T22 T1.9 – T22 T2.8 – T22
Close Focus (2): 0.95 m / 3’1” 1.20 m / 3’11” 1.5 m / 5′
Magnification Ratio (3): H: 1:14.7, V: 1: 7.4 H: 1:15.6, V: 1: 7.8 H: 1:15.9 V: 1:7.9
Length (4): 210 mm / 8.1” 226 mm / 9.1″ 226 mm / 9.1”
Length (12): 262 mm / 10.2” 278 mm / 10.7″ 278 mm / 10.7”
Front Diameter (5): 95 mm / 3.7″ 95 mm / 3.7″ 95 mm / 3.7″
Maximum Housing Diameter: 114 mm / 4.5″ 114 mm / 4.5″ 114 mm / 4.5″
Weight (Kg): 3.1 3.8 3,2
Weight (lb): 6.8 8.4 7.1
Entrance Pupil (6) (mm): -146 -129 -98
Entrance Pupil (6) (inch): -5.74 -5,09 -3,86
Angle of view H – V
Super 35 Cinemascope (8)
ID = 29.26 mm (7)
25° – 11° 19° – 8° 14° – 6°

(1) Positive locking (PL) 54 mm stainless steel lens mount with Lens Data System (LDS) contacts

(2) Close focus is measured from the film/sensor plane
(3) Magnification ratio is the relationship of the size of an object on the film/sensor plane (first number) to the size of that object in real life (second number) at the close focus setting; Horizontal (H) and vertical (V)

(4) Length is measured from the lens mount to the front of the lens housing

(5) Diameter of the lens/matte box interface

(6) The distance from the entrance pupil to the film/sensor plane at focus = infinity. Positive numbers indicated an entrance pupil behind, negative numbers indicated an entrance pupil in front 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.

(7) The image diameter (ID) is the diameter of the image circle needed for the respective format. These lenses are designed for the largest ID given here.

(8) Horizontal (H) and vertical (V)  angles of view for a Super 35 Cinemascope camera aperture (dimensions 22,5mm x 18,7mm / 0.8858″ x 0.7362″)

(12) Length is measured from the image to the front of the lens housing