Ultra 16 Lenses A Complete Set of Modern Super 16 High Speed Primes
Continuous advances in lenses, film stock and postproduction technologies have elevated the Super 16 film format to new levels of image quality and production efficiency. Super 16 is now routinely used for standard and high definition television productions, feature films, commercials and documentaries, and with stunning results.
ARRI | Ultra 16 Lenses The Art of Ultra 16 Main Features The art of cinematography is closely tied to the art of creating n Complete Set of Nine Close Focus Super 16 Primes the cinematographer's tools. The art of successful lens design · 6, 8, 9.5, 12, 14, 18, 25, 35 & 50 mm has been advanced with a new, complete set of high speed close focus lenses: the Ultra 16 lenses. Like the Master Primes, n High Speed - T1.
The speed of the new Ultra 16 lenses is a super fast T1.3, which allows the creation of a shallow depth of field, a look that is often sought after in other formats. Especially for wide angle lenses in Super 16, a maximum aperture of T1.3 helps in creating a cinematic look. In addition, T1.3 facilitates shooting on tight lighting budgets or under a lot of time pressure, common in TV drama or independent feature films.
ARRI | Ultra 16 Lenses A shallow depth of field is an important narrative tool for the cinematographer, and a feature sought after by other formats for its cinematic quality.
CUTTING EDGE TECHNOLOGY ARRI | Ultra 16 Lenses T* XP Anti Reflex Coating The new T* XP multi-layer anti-reflex coating reduces flares and internal reflections and creates a pleasing, gentle color balance. Compared to conventional coatings it has a better transmission and a more uniform performance from optical center all the way to the edges, resulting in higher contrast and deeper, richer blacks.
Ultra 16 Lenses Match Perfectly Like all other modern ARRI lenses, the Ultra 16 lenses have been Super Color Matched. Their optical characteristics and color balance are not only optimized for a pleasing color balance on modern film stocks, but they are also precisely matched to each other and the other ARRI lenses.
ARRI | Ultra 16 Lenses , c c " J aig V &+ " .% #' ' Ultra 16 lenses have been equipped with a blue ring and yellow scale markings to distinguish them from the Ultra Primes. ANGLE OF VIEW The illustration shows the horizontal angle of view for the Ultra 16 lenses for the Super 16 format. . c c " J /$ V aig + c &+ c , " J " ' *# -( V aig & c ( c '* " + " J c c '.
Technical Data Name Type Aperture Close focus (1) Length Front diameter Weight Horiz. angle of view (lens mount to front) Super 16 Ultra 16 T1.3 / 6 mm Distagon T* XP T1.3 to T16 0.20 m / 8“ 91.6 mm / 3.6“ 95 mm / 3.7“ 1.0 kg / 2.2 lbs 90.22° Ultra 16 T1.3 / 8 mm Distagon T* XP T1.3 to T16 0.30 m / 12“ 91.6 mm / 3.6“ 95 mm / 3.7“ 1.0 kg / 2.2 lbs 75.83° Ultra 16 T1.3 / 9.5 mm Distagon T* XP T1.3 to T16 0.30 m / 12“ 91.6 mm / 3.6“ 95 mm / 3.7“ 1.0 kg / 2.2 lbs 66.
THE ART OF ULTRA 16 ARRI | Ultra 16 Lenses 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, afyfe@arri-gb.com Tel: +44 (0)1895 457 000, Fax: +44 (0)1895 457 001 Italy ARRI Italia S.r.l.
