The ARRI Anamorphic Ultra Wide Zoom AUWZ 19-36/T4.2 is the widest professional anamorphic lens in the world, allowing filmmakers to incorporate extreme wide-angle perspectives into their cinematography with hardly any distortion and no compromise of image quality.
With a near telecentric optical design, the AUWZ features
highly uniform field illumination -- from the center to the very corners of the image. Since the anamorphic elements are positioned at the rear of the lens, focus breathing is virtually non-existent and both vertical and horizontal lines in the frame stay straight, even at close focus.
Built-in ARRI Lens Data System (LDS) functionality provides precise and continuous lens metadata for zoom, focus and iris settings on the AUWZ, simplifying complex shot-making on set and smoothing visual effects workflows in post. Like its spherical sister lens, the UWZ 9.5-18/T2.9, the Anamorphic Ultra Wide Zoom is ideal for VFX applications because the patented, cutting-edge optical design renders images of exceptional contrast, sharpness and consistency.
The unique qualities of the AUWZ have quickly been recognized by cinematographers, who are already putting the lens to use on a wide variety of productions. Landscape and aerial shots benefit from the almost total lack of distortion, while the minimum object distance -- which is just beyond the front lens element -- allows dramatic close-up compositions that have never before been achievable in anamorphic.
French cinematographer Matias Boucard used the AUWZ to shoot the opening scene of THE ODYSSEY, a major new biopic of the underwater adventurer and filmmaker Jacques Cousteau. For this scene Boucard used the AUWZ in a Shotover gyro-stabilized head, mounted to a helicopter, and shot dramatic wide-angle aerial images of a vintage seaplane. He notes, "I have found the AUWZ to be a perfect complementary tool to the Master Anamorphic lens set. The optical qualities of this lens make it possible to shoot landscapes in extreme wide angle, whilst maintaining consistent backgrounds and undistorted horizons. You feel the dynamic of a short focal length without getting the usual deformations or limitations, so this zoom makes you want to take risks and explore new creative perspectives. In combination with the Master Anamorphic series, it brings great freedom to working in the anamorphic format."
On the set of the next instalment in J.J. Abrams' highly successful STAR TREK film series, cinematographer Stephen F. Windon ACS, ASC has also been combining the new zoom with Master Anamorphics and pushing the boundaries of what has previously been possible with the format. "I've been using ARRI's Anamorphic Ultra Wide Zoom on the feature film STAR TREK BEYOND and I find that it complements my ARRI/ZEISS Master Anamorphic lens package very well indeed," explains Windon. "Optically and technically the AUWZ is an incredible lens: a super-wide anamorphic zoom with a fast maximum aperture, extreme edge-to-edge sharpness and surprisingly minimal distortion. Barely a day goes by where we don't use it."
Meanwhile cinematographer Florian Ballhaus ASC has been using the lens on ALLEGIANT: PART 1, the first of two films that will form the third and fourth instalments in THE DIVERGENT SERIES. He comments, "When shooting anamorphic the biggest challenge is finding true wide-angle lenses. The AUWZ offers unparalleled resolution, sharpness and lack of distortion for anamorphic photography. On Allegiant: Part 1 it allowed me to capture extreme wide-angle shots in the anamorphic format -- utilizing the entire ALEXA XT sensor -- rather than having to resort to spherical lenses. It's a true game-changer in anamorphic cinematography."