ARRI Lenses

Consistency. Choice. Creativity.

ARRI lenses

the largest matched rangeof modern cine primes and zooms

ARRI offers an unrivalled collection of color-matched cine lenses, providing
cinematographers with flexibility and consistent optical quality. Ranging fromsophisticated wide-angle primes to state-of-the-art zooms, lenses definedby ARRI meet the needs of any shot, on any production.

23

a perfect combinationof camera and lens

The most inspiring visuals are created when the best attributes

ARRI’s total system competence and understanding of the symbiotic

of a lens and a camera are combined to produce an image that is

relationship between cameras and lenses has led to production benefits

greater than the sum of its parts. ARRI has spent many decadesthat go beyond stunningly beautiful images. By pioneering lens data

refining a unique insight into how the camera and lens systems

technology and electronic communication between lenses and cameras,

can work together to achieve the highest possible image quality.

ARRI has facilitated efficiencies not only on set, but also in post.

Nearly One Hundred Years of Experience
ARRIFLEX/Schneider
Cinegon Lenses

ARRI
Ultrascope
LensesARRIFLEX/ZEISSStandardLenses

ARRIFLEX/Cooke Speed
Panchro Lenses

ARRIflex/ZeissMacro

4

ARRISCOPE
Lenses

1956

1959

1967

1974

1988

ARRIFLEX/ZEISSStandard Lenses

ARRIFLEX/ZEISSHigh Speed
Lenses

ARRI-MACRO
LensesARRINAR

1924

ARRI/Zeiss 765
Lenses

ARRI-MACRO

ARRI/ZEISS
Variable Prime
LENSES

ARRI/ZEISSUltra Prime
Lenses

ARRI Shift +Tilt System

ARRI/ZEISSMaster Prime
Lenses

ARRI/ZEISS LDS
Ultra Prime
Lenses

ARRI/ZEISSLightWeight
Zoom

ARRI/ZEISSMaster Zoom

ARRI/ZEISSUltra 16
Lenses

ARRI/FUJINON
Alura Zoom
LENSES

ARRI/ZEISSMaster Anamorphic
LensesARRIULTRA WIDEZOOM

ARRI/ZEISSMasterMacro 100

ARRIFLEX/ZEISS
Vario-Sonnar

1989

1991

1993

1994

1996

1999

2001

2005

2006

2007

2009

2010

2013

5

Co-operation

with the best

To produce lenses of the same exceptional quality, precision and durability as its cameras, ARRI has

ARRI defines the concept and specification of every lens before handing duties over

only collaborated with the world’s leading optics companies. The 75-year relationship with ZEISS

to our optics partners. As with all ARRI products, real-world feedback from professional

has resulted in lenses that have changed the language of cinema. More recently, ARRI has worked

filmmakers plays a crucial part in the development process. With a completewith FUJINON to create a new generation of zooms that perfectly complement the ALEXA camera.

understanding of cinematographers’ needs, ARRI consistently produces lenses thatquickly become valued workhorses of the industry.

67Supreme

sharpness and high contrast

Cinematographic images can be manipulated almost endlessly both on set and in
postproduction, but the best possible starting point is an image of uncompromisingclarity, range and detail. That is why ARRI lenses are second-to-none in terms ofcontrast and sharpness.

SKYFALL © 2012 DANJAQ, LLC, UNITED ARTISTS CORPORATION AND COLUMBIA PICTURES INDUSTRIES, INC. All Rights Reserved. Courtesy of MGM Media Licensing.

89

A natural andpleasing look

ARRI lenses are consistently clean and distortion-free, but they are notwithout life or character. Lustrous color rendition and pleasing skin tones,
as well as the beautiful out-of-focus highlights and deep texture resultin rich images that are full of vitality and emotion.

1011

Lens metadata for an

efficient VFX workflow

The ARRI Lens Data System (LDS) instantly provides lens metadata to the camera system,
bringing significant workflow efficiencies both on set and in post. Information about lens andcamera settings can be displayed on a camera-mounted monitor, making the focus puller’s job
easier and facilitating remote operations. Lens data generated by the system can also be
extremely beneficial for visual effects tasks.

Hansel & Gretel: Witch Hunters© 2013 Paramount Pictures. All Rights Reserved.
Photo credit: David Appleby1213

Prime Lenses

Ultra Prime lenses
The ARRI/ZEISS Ultra Prime series has the widest focal length range

Ultra Prime lenses retain their excellent image quality across theof any prime lens set available on the market. From the uniquewhole Super 35 frame, even at close focus. The Ultra Prime lenses

Ultra Prime 8R extreme wide-angle lens to the most advanced

are lightweight, standard speed lenses that are a perfect opticaltelephoto lens designed specifically for motion pictures, thematch to the high speed ARRI/ZEISS Master Prime series, giving

Ultra Prime 180, this complete series covers every possible angle.

you the flexibility to get the coverage you need.

T2.8/8R

14

T2.0/12 mm

T1.9/14 mm

T1.9/16 mm

T1.9/20 mm

T1.9/24 mm

T1.9/28 mm

T1.9/32 mm

T1.9/40 mm

T1.9/50 mm

T1.9/65 mm

T1.9/85 mm

T1.7/100
T1.9/100 mm
mm

T1.9/ 135 mm

T1.9/180 mm

15

ultra Prime LENSES

Exceptionallycompact and lightweight“ARRI and Zeiss really did make a good set of lenses with the Ultras –they’re lightweight, with superb quality and resolution. The 28 mm
was a particular favorite on THE GOLDEN AGE.”							Cinematographer Remi Adefarasin, OBE, BSC

Elizabeth: The Golden Age © 2007 Universal City Studios, Inc.

1617

Ultra Prime LENSES“THE SUPERB OPTICAL PERFORMANCEOF THE ULTRA PRIMES GAVE OURBLACK-AND-WHITE IMAGES RICHNESS,CONTRAST, AND ALL THE TEXTURE
OF LIFE.”

state-of-the-art

Cinematographer Ryszard Lenczewski, PSC

optical technologyIda © 2013 Sylwester Kaźmierczak / Opus Film1819ultra Prime LENSES

Reliably

tough and hard-wearing

for the biggest productions“ROBUST, COMPACT, MATCHED, RELIABLE. THEY STAND THE TEST OF LONG HAULPROJECTS LIKE THE LORD OF THE RINGS, KING KONG AND THE HOBBIT.”							Cinematographer Andrew Lesnie, ACS, ASCKING KONG © 2005 Universal City Studios, LLLPTHE EMPIRE STATE BUILDING DESIGN IS A TRADEMARK OF THE EMPIRE
STATE BUILDING L.L.C. AND IS USED WITH PERMISSION.

2021ULTRA Prime LENSES“THE ULTRA PRIMES HAVE BEEN ACONSTANT ON MY SETS IN RECENTYEARS. THEY ARE THE ONLY LENSES
THAT PERCEIVE LIGHT AND COLOR
THE WAY MY EYES DO, PROVIDINGA SOLID, CONSISTENT BASE FOR
INFINITE POSSIBILITIES.”

vivid colorsand maximum definition

Cinematographer Luca BigazziOscar® 2014

© Irene Tommasi

Foreign language film
La Grande Bellezza© 2013 Gianni Fiorito/Indigo Films

2223

Ultra Prime LENSES

the widest angle
with no distortion“SMALLER, LIGHTER AND EASIER TO FILTER THAN
THE 10 MM, THE ULTRA PRIME 8R IS SHARP ALL THE
WAY TO THE CORNERS AND FAITHFULLY DISPLAYSSTRAIGHT LINES.”				Cinematographer Roger Buckingham, ACS

The Ultra Prime 8R/T2.8 is an extreme wide-angle lens with a unique look thatcannot be equaled by any other lens in the film or video world. A sophisticatedrectilinear design allows the 8R to capture an exceptionally wide angle of view
without any of the commonly associated fisheye distortions.

© Buckingham Picture Productions

2425

Prime Lenses

LDS Ultra Prime lenses
Ultra Prime lenses were the first to be kitted out with ARRI’s revolutionary Lens Data System (LDS).
The LDS Ultra Prime series consists of Ultra Prime optical elements transplanted into speciallydesigned housings that allow each lens to communicate with the camera electronically, easing tasks
on set and providing valuable metadata for postproduction.

T2.0/12 mm

26

T1.9/14 mm

T1.9/16 mm

T1.9/20 mm

T1.9/24 mm

T1.9/28 mm

T1.9/32 mm

T1.9/40 mm

T1.9/50 mm

T1.9/65 mm

T1.9/85 mm

T1.9/100 mm

T1.9/135 mm

T1.9/180 mm

27

LDS ULTRA PRIME LENSES“Having the data embedded directly in the source
footage ensures that we have the information
we need when it comes time for post. Additionallyhaving frame by frame lens and camera info gives
us aN advantage when tracking 3d cameras toour footage.”				Director Andrew Sinagra, Ntropic

Cinematographer Bill Bennettand director Andrew Sinagra

Speedy VFX route“The lens metadata EMBEDDED in the image file, frameby frame, along with the camera metadata, greatly
facilitates the creation of the CGI automobile. This
saves the post-effects company hours of time andmoney, allowing them to meet a very tight delivery
schedule and budget for the finished piece.”saving time and money					Cinematographer Bill Bennett, ASC
LDS lens data table

FORD ESCAPE car commercial© 2013 Ntropic2829

Prime Lenses

Master Prime lenses
The ARRI/ZEISS Master Prime series finally realized a dream of many

There is simply no better choice than the Master Prime lenses for film

Scientific and Engineering Award® 2011 ofcinematographers: lenses that are not only fast, but that surpass all standard

or digital productions shooting spherical. Totaling 16 lenses, thethe Academy of Motion Picture Arts andspeed primes in their image performance. Master Prime lenses offer consistent

Master Prime series boasts more focal lengths than any other set ofSciences (©A.M.P.A.S.®) for the mechanicaloptical quality across the T-stop and focus scales, and display no breathing,modern primes, an amazing nine of which are at or under 35 mm,

and optical design of the ARRI/ZEISS

while their incredible speed opens up new creative opportunities.

providing unparalleled flexibility for wide-angle shots.

T1.3/12 mm

30

T1.3/14 mm

T1.3/16 mm

T1.3/18 mm

T1.3/21 mm

T1.3/25 mm

T1.3/27 mm

T1.3/32 mm

Master Prime cine lenses

T1.3/35 mm

T1.3/40 mm

T1.3/50 mm

T1.3/65 mm

T1.3/75 mm

T1.3/100 mm

T1.3/135 mm

T1.3/150 mm

Master Macro T2.0/100 mm31

MASTER PRIME LENSES

Photo: Jessica Miglio

High speed for“I ALWAYS TRY TO USE MASTER PRIME LENSES. ON BLUE JASMINE I REALLY VALUED THE FAST
AND SMOOTH FOCUS FALL-OFF, GIVING EXCELLENT SEPARATION EVEN FOR TIGHT INTERIORS.
WITH THE OPTICAL PERFORMANCE AND SKIN TONES SO EXCEPTIONAL AT T1.3, YOU CAN SHOOTINTIMATE CLOSE-UPS WIDE OPEN WITHOUT ANY WORRIES AT ALL.”low light scenes			with T1.3 across the full range						Cinematographer Javier Aguirresarobe

Blue Jasmine© 2013 Perdido Productions. Photo credit: Metrik Morton

3233

Master Prime LENSES“We lit the apartment interior with LEDs dimmed low enough that we could expose
for the city night lights through the windows. It was only by shooting with theMaster Primes wide open that we got those shots.”

Pleasant focus behaviour for anorganic feel									Cinematographer Rodrigo Prieto, ASC, AMC

The Wolf of Wall Street© 2013 Paramount Pictures and Red Granite Pictures

3435

Master Prime LENSES

Unmistakablerich tonalitywith sharp, characterful images“The image quality is absolutely beautiful. It is sharp without
feeling clinical and neutral in tone.”						Cinematographer Roberto Schaefer, ASC

Kite Runner © 2007 Paramount Pictures

3637

Master Prime LENSES“There was a lot of bluescreen
work on LIFE OF PI, so we needed
our lenses to be extremelysharp. That’s why we chose
the Master Primes.”
Claudio Miranda, ASCOscar®-winning cinematographer of Life of Pi

Extraordinary quality foreasy VFX compositing
Cinematographer Claudio Mirandaand director Ang Lee

4 Oscars® 2013, including
Cinematography
Visual effects
Life of Pi © 2012 Twentieth Century Fox Film Corporation. All Rights Reserved.

3839

Master Prime LENSES“We could not have madeGRAVITY without the amazing
quality of the Master Primelenses. They allowed us toshoot wide open and capture
the clearest images.”		

Emmanuel Lubezki, ASC, AMC
Oscar®-winning cinematographer of Gravity

7 Oscars® 2014, including
Cinematography
Visual effects

clean visuals
for zero-tolerance situations
Emmanuel Lubezki, ASC, AMC

Gravity © 2013 Warner Bros.

4041

Master Prime LENSES“MASTER PRIME IMAGES ARE
BEAUTIFUL – SHARP, CRISP, WITH
GOOD color SATURATION AND ANORGANIC FEEL. BREATHING DURING
FOCUS PULLS IS almost invisible.”stable images		with minimal breathing during focus pulls

Cinematographer Ting-Chang Chin

Kano © 2014 ARS Film Production

4243

MASTER PRIME LENSES

The perfect lens for

perfect portraits“PORTRAITS ARE THE MOST SENSITIVE SHOTS
A DP HAS TO CREATE. WITH THE MASTERPRIME 135, WE ARE PERFECTLY PREPAREDFOR THAT CHALLENGE.”
Cinematographer Tom Fährmann, BVK

ARRI’s continuous dialogue with cinematographers, operators and directors revealed
demand for a focal length of 135 mm. This is the ideal portrait lens for many situations,capturing a natural and pleasing rendition of the human face and fitting nicely between
the Master Prime 100 and 150.

4445

MASTER Macro 100

Director Matthias Zentner

close-up on quality“THE MASTER MACRO 100 IS THE ONLY MACRO LENS YOUCAN USE LIKE A REGULAR LENS, WITHOUT COMPROMISES.
MATTHIAS AND I LOVED USING IT ON OUR COMMERCIALFOR DETAILED PRODUCT SHOTS, AS WELL AS AMAZINGPORTRAITS AND BEAUTY SHOTS.”

with staggering, life-size detail
For those who want the ultimate in image quality for tabletop

Designed for the ANSI Super 35 image format, the Master Macro 100

cinematography, product shots, close-up inserts on feature films orcan be used on any PL mount 35 mm film or single-sensor 35 format

any other applications that require a macro lens, the ARRI/ZEISS

digital camera. It can also be used on PL mount 16 mm film and single-

Master Macro 100 delivers images of staggering beauty.

sensor 16 format or 2/3” digital cameras.

Cinematographer Stefan von Borbely				Cinematographer Stefan von Borbely

Illy commercial© 2013 velvet mediendesign4647

Prime Lenses

Master Anamorphic lenses
A range of seven high-performance prime lenses, the ARRI/ZEISSFor the first time, a perfect combination of compact size, minimal weight,

Master Anamorphic series represents a significant step forward invery high speed and exceptional optical design with minimal distortion

the technology and practicality of anamorphic cinematography forhas been achieved in a set of anamorphics. With beautiful out-of-focus

35 format digital and film cameras.

backgrounds and a smooth, cinematic look, the Master Anamorphic lenses
are fast and easy to use on set.

T1.9/35 mm

48

T1.9/40 mm

T1.9/50 mm

T1.9/60 mm

T1.9/75 mm

T1.9/100 mm

T1.9/135 mm

49

Master Anamorphic lenses“AT THE CLOSE FOCUS DISTANCE OF THE
MASTER ANAMORPHIC 50 MM THERE
WASN’T ANY OF THE NORMAL ANAMORPHICDISTORTION TO FACES AT ALL, AND THEREWAS NO RESOLUTION WEAKNESS AT THE
EDGES OF THE FRAME.”
Cinematographer Sheng Lu

low distortion
for uncompromised cinemascopeAta© 2014 Beijing Ming Yang Xing DouMedia Company5051

master anamorphic lenses“The Master Anamorphics blew me away with their magical blendof Master Prime resolution and contrast with never-before seensmoothness, color rendition and cinematic bokeh. These lenses
will take anamorphic to a whole new level.”						Cinematographer Stijn Van Der Veken, ASC, SBC

cinematic bokehwith high contrast and nice focus fall-off

In Flanders Fields © 2013 VRT/Menuet

5253

Master Anamorphic lenses“SKIN TONES ARE EXTREMELY IMPORTANT,AND HOW COLOR TRACKS. IT’S TERRIFICTO GET A NEW SET OF ANAMORPHICS THATIS COMPLETELY CONSISTENT ACROSS
THE RANGE – THE MASTER ANAMORPHICS
ALL PERFORM IN THE SAME WAY, WHICH
IS GREAT.”
Cinematographer Karl Walter Lindenlaub, BVK, ASC

beautiful skin tones
and precise color rendition

5455

ZOOM lenses

Alura Zoom lenses
The four lenses in the ARRI/FUJINON Alura Zoom range offer a complete imaging

Comprising two production zooms, two lightweight zooms and two extenders,solution to productions wishing to benefit from the speed and flexibility of

the Alura series covers a focal length range of 15.5 mm to 500 mm. The light-working with zooms. Suitable for both film and digital cameras, all four of theweight zooms are unprecedented in the level of optical sophistication theylenses are color matched not just to each other, but also to ARRI prime lenses,

pack into such compact housings, offering the perfect solution for fast-moving

exhibiting high contrast and high resolution for sharp, punchy images.

productions, Steadicam and handheld work, smaller cameras and action shots.

T2.8/15.5-45 mm

56

T2.8/30-80 mm

1.4x Extender

2.0x Extender

T2.6/ 18-80 mm

T2.6/45-250 mm

57ALURA Zoom lenses“THE CONSISTENCY AND LIGHT WEIGHT OF THE ALURA ZOOMS GAVE US THE FREEDOMAND FLEXIBILITY WE NEEDED ON THE HUNT. I WAS ABLE TO USE THEM AS STORYTELLINGTOOLS, ON THE DOLLY OR EVEN HANDHELD, WITHOUT WORRYING ABOUT BREATHING
OR CHANGES OF CONTRAST.”				

consistent image quality			

Cinematographer Charlotte Bruus Christensen

across the full range
The Hunt© 2012 Zentropa

5859

ALURA Zoom lenses“The bold choice in only using the Alura Zoom
18-80 proved to be the right choice for shooting
this COMMERCIAL, as it provided production
value, affordability and high-end quality.
It sacrifices nothing compared to prime lenses.”			

Cinematographer Luan Shi

High production value throughaffordable high-end quality
Fujian Province Tourism Promotional Video © 2013 Shanghai Sanzhong Marketing Planning and Service Company/ Fujian Travel and Tourism Administration

60

61

ALURA Zoom lenses“The Lightweight Aluras were
the only lenses I needed on
this commercial; the optical
performance matches primelenses and the metadata makes
VFX work in post easy.”		

Cinematographer Maher MalehLDS lens metadata
with the Lightweight Alura Zooms
Media Markt - Zoom commercial© 2014 doity Produktion GmbH

6263

ALURA Zoom lenses

go-anywhere zooms“I USED THE ALURA 45-250 IN THE HEAT OF THE DESERTAS WELL AS IN ARCTIC SNOWSTORMS. IT'S A GREATLENS TO CAPTURE WILDLIFE IN ITS HABITAT AND IT
PERFORMS BEAUTIFULLY, ESPECIALLY IN BACKLIGHT.
I LOVE HOW THE ALURA SURPRESSES LENS FLARESAND HOW IT PAINTS THE SUN.”				

Wildlife cinematographer Rolf Steinmannthat can take the heat

Photo: Dave Mothershaw

64

65

Ultra Wide Zoom

Ultra Wide Zoom lens

66With an image circle of 34.5 mm, the ARRI Ultra Wide Zoom UWZ 9.5-18/T2.9

Equipped with the ARRI Lens Data System (LDS) and optimized forwill accommodate the next generation of large-sensor digital cameras.

VFX applications, the UWZ is ideal for plate shots or any otherIts telecentric design and cutting-edge lens technologies deliver an opticalsituation requiring maximum image quality. Distortion is less thanperformance unprecedented in a wide-angle zoom. For maximum flexibility

1% at all focal lengths, so straight lines stay straight, even at closeand efficiency on set, the UWZ can easily replace a complete range offocus. Flare and veiling glare are reduced to a minimum, and fieldwide-angle primes.

illumination is uniform to the very corners of the image.

67

Ultra Wide Zoom

extremely low distortion“I’ve seen this lens up on a lens projector and it’s ridiculously good; in fact,
for how wide it is, it’s shockingly good.”		

Cinematographer Bill Bennett, ASCand uniform image quality from corner to corner

68

69

Globalservice and support

BURBANKTORONTONEW YORK

for an international industry

LONDONBERLINMUNICHVIENNAMILAN
BEIJINGHONG KONG

ARRI products are renowned all over the world for their precision and durability. Despite this, ARRI values the trust of its

SYDNEYcustomers in after-sales service and support as highly as their trust in the equipment itself. With service centers covering
the entire globe, we are never too far away to provide support at a moment’s notice, wherever you might be.

ARRI subsidiaries
Over 50 service and support partners worldwide; contact details at www.arri.com

70This brochure (80.0001717) is published by Arnold & Richter Cine Technik, April 23, 2014 © ARRI/2014
Technical data and offering are subject to change without notice. All rights reserved. Without any warranty.
Not binding 04/2014. ARRI is a registered trademark of Arnold & Richter Cine Technik GmbH & Co. Betriebs KG.

71

www.arri.com