超廣角變形寬銀幕的視角
「從光學與技術層面衡量，AUWZ是一支難以置信的鏡頭。」
——ACS/ASC攝影師史蒂芬•F•雲頓
「AUWZ鏡頭為變形寬銀幕攝影帶來了絕無僅有的解析度、銳利度和小畸變。」
——ASC攝影師弗洛裡安•巴爾豪斯
ARRI Anamorphic Ultra Wide Zoom AUWZ 19-36/T4.2變形寬銀幕超廣角變焦鏡頭是世界上視角最廣的專業變形寬銀幕鏡頭，令電影人能夠拍攝極度寬廣的畫面且幾乎沒有任何畸變，畫質更是出類拔萃，絕無折損。
由於採用了遠心鏡頭設計，AUWZ鏡頭從中心至邊緣的像場照度均勻，而且因為變形寬銀幕組件設計在鏡頭後方，所以幾乎不存在呼吸效應，即使在最近對焦位置，垂直與水平線條都同樣保持絕對平直。
AUWZ鏡頭內建的ARRI鏡頭數據系統（LDS）為變焦、對焦和光圈設置提供了精確而連續的鏡頭元數據，讓現場拍攝的複雜數據條理分明，方便後期視覺特效工作流程。和它的球面鏡頭兄弟UWZ 9.5-18/T2.9一樣，由於AUWZ鏡頭頂級的專利光學設計令畫面對比度、銳利度與一致性卓越不凡，變形寬銀幕超廣角變焦鏡頭是視覺特效類應用最理想的鏡頭選擇。
AUWZ鏡頭獨一無二的品質很快就得到了攝影師們的認可，在各種類型的製作中出現。風光攝影和航空攝影從它身上收益頗豐，因為它幾乎沒有畸變。同時因為它的最近對焦距離極短——幾乎能貼著鏡頭前端對焦——讓一些以往變形寬銀幕格式可望而不可及的戲劇化的大特寫構圖成為了現實。
法國攝影師馬蒂亞斯•布格（Matias Boucard）使用AUWZ鏡頭拍攝了大製作傳記片《奧德賽》的開篇，這部影片講述的是水下探險家、電影人雅克•庫斯託（Jacques Cousteau）的故事。為了拍攝這個場景，布格將AUWZ鏡頭裝上Shotover三維陀螺雲臺，坐上直升機，從空中用極富感染力的廣視角拍攝一架老式的水上飛機。他說道：「我發現AUWZ鏡頭是Master Anamorphic變形寬銀幕鏡頭組完美的補充，這支鏡頭的光學質量讓拍攝超廣角、均勻背景和無變形地平線的風光成為可能。你能感受得到它短對焦距離帶來的靈活性，不會出現常見的變形或者什麼約束，因此這支鏡頭讓你願意冒險探索新的創作視角。和Master Anamorphic變形寬銀幕鏡頭組搭配起來，給變形寬銀幕格式的創作帶來巨大的自由。」
在導演J.J. 艾布拉姆斯（J.J. Abrams）大賣的《星際迷航》系列續作的片場，ACS/ASC攝影師史蒂芬•F•雲頓（Stephen F. Windon）同樣將這支新變焦鏡頭與Master Anamorphic變形寬銀幕鏡頭組合使用，打破了這種格式以往的局限。「我已經在使用ARRI變形寬銀幕超廣角變焦鏡頭拍攝《星際迷航：超越邊界》，我覺得它確實完善了我的ARRI/ZEISS Master Anamorphic變形寬銀幕鏡頭組合，」 雲頓解釋說：「從光學與技術層面衡量，AUWZ是一支難以置信的鏡頭：超廣的變形寬銀幕鏡頭，可變焦，大光圈，整個畫面極其銳利，畸變控制令人驚訝。我們一天也離不開它。」
與此同時，ASC攝影師弗洛裡安•巴爾豪斯（Florian Ballhaus）在使用這支鏡頭拍攝《分歧者》系列第三部《效忠者》的上集。他評價道：「拍攝變形寬銀幕格式最大的挑戰是找到真正的廣角鏡頭。AUWZ鏡頭為變形寬銀幕攝影帶來了絕無僅有的解析度、銳利度和小畸變。在《效忠者》上集裡，它讓我能夠拍攝視角超級寬廣的畫面——以變形寬銀幕的格式完全利用到整個ALEXA XT影像傳感器的成像面積——而無需選擇球面鏡頭。它真正改變了變形寬銀幕攝影的傳統規則。」
Wide-angle anamorphic perspectives
Optically and technically the AUWZ is an incredible lens.
Stephen F. Windon ACS, ASC
The AUWZ offers unparalleled resolution, sharpness and lack of distortion for anamorphic photography.
Florian Ballhaus ASC
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.」