C A R L Z E I S S U L T R A P R I M E L E N S E S
C O V E R A L L T H E A N G L E S
More focal lengths in a Super Color Matched lens set.
Take a step back and get the big picture through the brilliant, distortion free Ultra Prime 10 mm, or dive right into the action with the only telephoto lens designed specifically for motion pictures, the Ultra Prime 180 mm. The Ultra Prime lenses offer 15 different focal lengths for every cinematic need, giving you the flexibility to get the coverage you want.
Save time in post. All 15 lenses are Super Color Matched to guar- antee seamless cuts between scenes, avoiding time consuming color matching in post.
Come closer: The Ultra Prime lenses retain their excellent image quality even at close focus across the whole Super 35 frame. For directors who like to get in close to the action this is invaluable.
Ultra Prime lenses deliver top quality images in all situations with typical ARRI reliability. Cinematographers rely on them under the most adverse environmental conditions, and rental houses appreciate their unparalleled service record.
The Church
In 1161 the Benedictine prior Volkmar laid the cor- nerstone for a new abbey church in a rural location southeast of Noerdlingen, a small town in western Bavaria. In 1192, after 31 years of construction, the church named St. Martin was inaugurated. Originally a sacral building in Romanic style with rounded win- dows and doors, St. Martin changed to baroque style during the expansion and refurbishing in the years 1693 to 1702. It was then further developed and lavish- ly decorated during the 18th century, resulting in its current appearance.
The Shoot
The images in this booklet were all taken with the 15 original Ultra Prime lenses by Manfred Stich, Hans Uwe Furthwängler and Kornelius Müller of Zeiss. St. Martin was chosen as the subject because it could fill any image angle from ultra wide to long telephoto with rich and meaningful detail.