ARRI Signature Prime Lenses | Lenses

Product Picture of ARRI Signature Prime 15 mm, Cine Prime Lens.

A unique look never seen before

Ranging from 12mm to 280mm, the ARRI Signature Prime lenses offer a unique look never seen before in cinema. Warm, smooth skin; open shadows with crisp blacks; and bokeh like looking through a window in the rain. The timeless look of Signature Primes will never go out of style.

Credits

The Flash

Strange Way of Life

M3GAN

The Banshees of Inisherin

Empire of Light

Wednesday

Argentina, 1985

Marlowe

Tár

The Lord of the Rings: The Rings of Power

Three Thousand Years of Longing

Signature Prime Features

Timeless Look

Warm smooth skin tones
Open shadows with crisp blacks
Exceptionally soft bokeh for increased sense of separation
Soft and delicate flares
Unparalleled flexibility with magnetic rear filter holder
16 matched primes from 12 to 280 mm

ARRI Signature Prime Lens Example on skin tone capture.

Modern Lens

Fine details beautifully rendered
No visible focus breathing and no distortion for easy tracking
Minimal chromatic aberration for a perfect key

ARRI Signature Prime Lens Example Footage.

Safe investment for rental houses

Optimal results with all sensors due to near-telecentric design
New mechanical design concept for easier service
24/5 global service
Multi-award winning lenses

Group Image of all 16 large format arri signature prime lenses-incl. design award.

Fitted with new LPL Lens Mount

Camera-independent, open standard
Covering all image circles up to large format 46 mm
Backwards compatible with PL-mount lenses through rock-solid PL-to-LPL Adapter
LDS-2 and /i support

Product picture of the Alexa lf lpl lens adapter.

Detachable ARRI Magnetic Rear Filter Holder for Signature lenses

Endless scope to create unique looks that are consistent across Signature Primes and Zooms
Enhanced production value without additional cost
Filmmakers can experiment themselves
Fast and easy changes of look, with no tools needed
Whatever customization is used, the lens itself remains unchanged

ARRI Signature Prime 75 mm showing the Detachable and Magentic Rear Holder.

Kyoto movie image captured with ARRI Signature Prime lenses.

Exceptionally soft bokeh and delicate flares

Next-generation LDS-2 Lens Data System

The ARRI Signature Prime range is the first to incorporate ARRI’s next-generation LDS-2 Lens Data System, with high data rates and absolute encoders for fast initializing. LDS-2 extends the possibilities of lens data and can be licensed to other lens and camera manufacturers.

ARRI Signature Primes Example Footage about Rain on Car Window.

Fine details beautifully rendered with smooth focus fall-off

Quotes

I chose Signature Prime lenses because the images they produce are very sharp, clean, and perfect for large format. What's more, the lenses have a T-stop of T1.8 which makes the depth of field more varied, allowing us to create interesting images. Skin tones also look natural and soft, providing an organic feel.

Cinematographer Petir

The ARRI Signature Primes have something almost indescribable that I like to call “a modern and elegant charm”. They’re clearly high end lenses, with no distortions, made to match between themselves, sharp and stable. However, they give you such a powerful and discrete softness around edges that it’s sometimes hard to believe what you’re looking at, even when you use them wide open.

Cinematographer Julio Costantini shooting "Confessions of an Invisible Girl"

Cinematographer Julio Costantini talking about the ARRI Signature Prime Lenses.

The Signature Primes were an obvious choice for this project – the creative latitude they provide is unparalleled. As a DP I am able to explore areas I wasn’t able to before. As a rental house owner the artistic attributes of the Signatures and the fact that they are LPL-mounted and ARRI-branded make them a solid investment.

Cinematographer and co-owner of OLGA rental company Oslo Gaute Gunnari shooting the Netflix show “Young Wallander”

Cinematographer and co-owner of OLGA rental company Oslo Gaute Gunnari talking about the ARRI Signature Prime Lenses.

The Signature Primes are wonderful lenses. Sharp but soft at the same time. Very versatile, precise, and above all, very light and, therefore, very practical. They are perfect lenses that you can hardly do without. They were exactly what we were looking for for the film.

Cinematographer Daria d’Antonio shooting “The Hand of God”

Cinematographer Daria d’Antonio talking about the ARRI Signature Prime Lenses.

We used the Signature Primes along with the Mini LF to shoot re-enactments for a documentary on location in Las Vegas. We were constantly on the move and quickly changing lenses, so the Signature Primes were easy to do this with because they’re so light weight. The Signature Primes paired with the Mini LF created a beautiful look with the lights and colors of Las Vegas. The image quality is sharp and clean, but still extremely natural looking. It was a perfect fit for our project!

Camera Op Sophie Bruza shooting “Buying Her” captured with ARRI Signature Primes and ALEXA Mini LF

Camera OP Sophie Bruza talking about the ARRI Signature Prime Lenses.

On “The Singapore Grip” we tested many lenses before the shoot and the Signatures were the best, hands down. Their color rendition is brilliant, giving me lush, faithful colors while maintaining consistent contrast throughout the entire range of T-stops. What a great set of focal lengths is available, although on this shoot our workhorses were between 47 and 95 mm. They gave me good background separation even at T5.6, and the close-ups were just popping out. With large format I am getting images that are halfway between spherical and anamorphic, which fits certain narratives beautifully.

Cinematographer John Lee BSC (Known for: "The Singapore Grip", "Barkskins", "Baptiste", "The Widow" and many more)

Cinematographer John Lee talking about the ARRI Signature Prime Lenses.

Coming from the world of advertising, working with these lenses feels like some kind of sweet sin. The last secret that separated film from the world of digital cinema has finally come into focus for me. Simply put: These lenses inspire creativity.

Cinematographer Dragan Gajanovic

I feel ARRI's Signature Primes are the ultimate set of full-frame cinema lenses. The balance of attributes in their optical design is staggering: super high resolution combined with a soft and easy-going presentation of detail; gentle flare and bokeh qualities; a cinematic attention to geometry; great close focus; lack of breathing and zero axial chromatic aberration. There is not much out there that even comes close. I find their size and relatively light weight perfectly realised, and the rear magnetic filter ring is an invitation to further cinematographic innovation. But ultimately it is look of the lenses that I love, and has me reaching for them time and again.

Brendan McGinty, 16oz Studio

Brendan McGinty talking about the ARRI Signature Prime Lenses.

Shooting The Pursuit of Love I found the Signature Primes, in combination with the Mini LF, to be elegant lenses with character and depth. Handsomely crafted glass that I found I could really lean into and the results were always sleek and flattering.

Cinematographer Zac Nicholson BSC (known for: A Boy Called Christmas, The Personal History of David Copperfield, Misbehaviour, All Is True and many more)

I love the large format of the ALEXA Mini LF, and I love the Signature Primes, which give beautiful skin tones and a seamless roll-off in the shadows. The blacks are beautiful, and the lenses are so lightweight; they are the best lenses in the world right now.

DP and TRINITY operator Daniel Cawthorne

DP Daniel Cawthorne talking about the ARRI Signature Prime Lenses.

As a cinematographer, our obligation is to show things in a better way and in a different way, in ways you haven’t seen before. These lenses give us that possibility.

Cinematographer Christopher Doyle, HKSC (known for: In the Mood for Love, Happy Together, 2046, Port of Call and many more)

DP Christopher Doyle talking about the ARRI Signature Prime Lenses.

I enjoyed doing the DI for 'Jingle Jangle' creating SDR & HDR masters. The ALEXA LF with the Signature primes is just amazing! Beautiful lenses.

Cinematographer Remi Adefarasin OBE BSC (known for: Jingle Jangle, Elizabeth, The Last Vermeer and many more)

DP Remi Adefarasin talking about the ARRI Signature Prime Lenses.

When Films at 59 purchased full-frame cameras there was only one real lens choice, and that was the ARRI Signature Primes. Being made of magnesium they are nice and light for handheld work, whilst maintaining a fast, uniform speed across nearly all the range. The image is superb and in combination with the ALEXA Mini LF they are seriously tough to beat!

David Wride, Head of Camera, Films at 59

David Wride talking about the ARRI Signature Prime Lenses.

The ARRI Signature Primes have proved to be a gamechanger, both on set for our clients and also for the rental aspect of our business. Their creative versatility makes them a standout option for high-end productions, which is why our lens sets are constantly working. The Signatures have become an industry standard in record time.

Daniel Thisell, Ljud & Bildmedia AB

Daniel Thisell talking about the ARRI Signature Prime Lenses.

Digital imaging has finally found its lens!
Perfection must have character. ARRI Signature Prime lenses enhanced my creativity, adding space to depth of field and body to structure.

Cinematographer Maxime Alexandre AIC (Known for: The Haunting of Bly Manor, Shazam!, The Nun and many more)

Cinematographers Maxime Alexandre & Mike Flanagan talking about the ARRI Signature Prime Lenses.

There were significant restrictions on space and light, as the project was shot in a real life apartment, and not on a sound stage. For this story, we used mainly wide-angle lenses and hard lighting. After doing a lot of tests, I chose the Signature Prime lenses, because they give me more freedom and preserve the structure of a large-format portrait that our film needed.

Cinematographer Gennady Uspangaliev (Known for: My Personal Island, The Rules and many more)

Cinematographer Gennady Uspangaliev talking about the ARRI Signature Prime Lenses.

I was really interested in the unique focal lengths that the Signature Primes offered. Initially that was what attracted me, but once I started using the lenses, I have been amazed at how they render skin tones—and color in general.

Cinematographer Michael Dwyer (known for: Justin Bieber: Seasons, Pocha: Manifest Destiny, I'll Sleep When I'm Dead and many more)

Cinematographer Michael Dwyer talking about the ARRI Signature Prime Lenses.

I love the image from the Signatures. It’s a very clean look, but not too sharp; it has a softness that seems very film-like to me, and when I put flare in the lens it really looks beautiful. Often, I was at T2 or T2.8, but there were times when I closed the iris to see more of a location, and others when I opened it up to take advantage of the very shallow depth of field. The way out-of-focus areas look with the Signatures is one of the reasons why I want to keep using them.

Cinematographer Keiko Nakahara (known for: The Jane Austen Book Club, Shakuntala Devi, Tanhaji: The Unsung Warrior and many more)

Cinematographer Keiko Nakahara talking about the ARRI Signature Prime Lenses.

We were able to experience how lightweight and how good it felt to shoot with Signature Primes even for handheld- heavy films with a lot of movement. We were also very surprised at how it captured such delicate and elegant tones from the actors' skin and the natural lighting from outdoor scenes. Quite frankly, the quality blew me away.

Cinematographer Hyuk-Jun Yoo (known for: Leverage, Oh My Baby and many more)

DP Hyuk-Jun Yoo talking about the ARRI Signature Prime Lenses.

They are very transparent in color and light and the out of focus areas (bokeh) of the Signature Primes are very precise. Even with little depth of field, backgrounds are still very readable.

Cinematographer Julien Hirsch (known for: Lady Chatterley, Un peuple et son roi, La daronne and many more)

Cinematographer Julien Hirsch talking about the ARRI Signature Prime Lenses.

I loved the large aperture, the shallow depth of field, and the way it produces a cinematic look and feel. The lenses are also very lightweight, which is crucial for action films with quite a lot of handheld scenes.

Cinematographer Man-Ching Ng, HKSC (known for: Rise of the Legend, Rigor Mortis, Infernal Affairs II & III and many more)

Cinematographer Man Ching Ng talking about the ARRI Signature Prime Lenses.

I really like the character the Signature Primes give to the image--incredibly clean and sharp. I enjoy using these lenses in combination with ARRI’s large-format cameras, because, thanks to the large sensor, the image becomes much deeper, more saturated compared to other cameras. Signatures are perfect for shooting with a hand-held camera, as they are quite lightweight. For one of my most recent projects, I used a special helmet with the camera (Sony Venice) and Signature Prime 21. This choice was made due to the lens’s extreme light weight. In my opinion, Signature Primes have a wide range of features to suit any need, whether it be shooting commercials, music videos, or feature films.

Cinematographer Nikita Gorodnichenko (Known for various music videos, short films and commercials)

Cinematographer Nikita Gorodnichenko talking about the ARRI Signature Prime Lenses.

For me, they are the perfect tools for the ALEXA LF camera. They have aperture, they are lightweight, and they even cover from 18 mm to 125 mm; this is an area where there are not many options available yet. They are also very soft while still having a personality.

DP Mélodie Preel (known for commercials for: Roger Vivier, American Express, ubisoft and many more)

DP Mélodie Preel talking about the ARRI Signature Prime Lenses.

I was quite surprised at how good the Signature Prime Lenses were. Using them gave me a lot of creative freedom to work on different kinds of set-ups – indoor, outdoor, harsh lighting, soft lighting. It’s wonderful how it’s apt for skin tones, for varying lighting ratios, and the blacks are really beautiful.

Cinematographer Tey Clamor, LPS (known for: Isa Pa With Feelings, Us at the End of the Year , The Girl and the Gun and many more)

DP Tey Clamor talking about the ARRI Signature Prime Lenses.

These lenses appeal to me because they're soft, but, depending on how I light the shot, I am able to get a more or less contrasted image.

Cinematographer Guillaume Schiffmann AFC (known for: How to Be a Good Wife, My Cousin, Waiting for Bojangels, and many more)

Cinematographer Guillaume Schiffmann talking about the ARRI Signature Prime Lenses.

ARRI’s Signature Primes are an example of perfection in lens design. They are immaculate. The ability to add rear elements to give a distinctive look is an added bonus.

Cinematographer Michael Seresin ONZM, BSC (Known for: Harry Potter and the Prisoner of Azkaban, Mowgli: Legend of the Jungle, Dawn of the Planet of the Apes and many more)

Cinematographer Michael Seresin talking about the ARRI Signature Prime Lenses.

The image that the LF and the Signatures produces seems, to me, more like what my eyes see than anything else I experienced so far.

Cinematographer Roger Deakins CBE, ASC, BSC (known for: 1917, Blade Runner 2049, Skyfall, Sicario, No Country for Old Men, O Brother Where Art Thou? and many more)

Cinematographer Roger Deakins talking about the ARRI Signature Prime Lenses.

The marriage of the ALEXA LF and the Signatures is an absolute winner! Wow, what a beautiful lens, brilliant skin tones! Super!

Cinematographer Stijn Van der Veken, ASC, SBC, shooting Outlander Season 5 (Known for: Outlander, Death of a Shadow, Murk Light and many more)

Cinematographer Stijn van der Veken talking about the ARRI Signature Prime Lenses.

I really like the Signature Primes. Super MTF but not too sharp or contrasty. They are extremely fast and have a great flare resistance!

Cinematographer Tom Stern AFC, ASC (known for: Changeling, The Hunger Games, American Sniper, Flags of our Fathers and many more)

Cinematographer Tom Stern talking about the ARRI Signature Prime Lenses.

I am thrilled by the natural and organic look, the pleasant sharpness without disturbing micro-sharpness, the warm color rendition in combination with very natural skin tones, and the richness of details deep into the blacks. Thanks to the minimal “breathing” of the ARRI Signature Primes - shifts in focus are hardly noticeable even in fixed tableaus and therefore appear extremely subtle. The combination of my ALEXA Mini LF with the ARRI Signature Primes (provided by Cinegrell) was the perfect choice for the shooting of the Swiss "Aller Tage Abend." The compact design of the Mini LF as well as the amazing light weight of the ARRI Signature Primes allow fast and flexible work.

Cinematographer Simon Huber (Known for: Aller Tage Abend (currently shooting), Lasst die Alten sterben, Experiment Schneuwly and commercials for FIFA, Coca-Cola, Virgin, Samsung and many more)

Cinematographer Simon Huber talking about the ARRI Signature Prime Lenses.

Signature Primes are the closest lenses to how I see things in reality. So much shadow detail with this level of crisp blacks is something I have not seen before. And the best part is how skin tones look. I don’t think I’m going to be shooting on anything else for a while.

DOP Sudeep Chatterjee (Known for: Padmavat, Bajirao Mastani, Chak De India to Guzaarish and many more)

Cinematographer Sudden Chatterjee talking about the ARRI Signature Prime Lenses.

To capture the cinematic vignettes for our feature documentary, we turned to ALEXA Mini with ARRI Signature Primes. These are the first modern lenses that have stolen my heart. They have unique painterly quality in the way they render skin tones and shadows. The added benefit of the magnetic rear net holders made these lenses a no-brainer, allowing us to have consistent net stretches across the entire lens range.

Cinematographer Kyle Krupinski (known for: Parallel Chords, The Solipsist, Under the Grove and many more)

Cinematographer Kyle Krupinski talking about the ARRI Signature Prime Lenses.

The Signature Primes look great; they are not clinical, not dead, they make very organic images. T1.8 allows for a very shallow depth of field and they have a very nice focus roll off.

Cinematographer Milos Moore (known for: Patrick Melrose, Stan Lee's Lucky Man and many more)

Cinematographer Milos Moore talking about the ARRI Signature Prime Lenses.

Thanks to the Signature Prime lenses, I had my first encounter with large format. I discovered a new approach in my camera work, a new distance with the people I was filming. We can be closer to the action; a physical step that makes all the difference with the classical format I was used to.

Director Paul Mignon (known for: Patagonia, Pampa, Norte and many more)

Cinematographer Paul Mignon talking about the ARRI Signature Prime Lenses.

I see in it a real option that refines the staging and the image. I discovered the Signature Prime lenses filming "Gauchos" and they totally seduced me. They are modern and yet have character. We shot often at full opening and we could appreciate the magnificent bokeh, the beautiful flair, and the fine optical behavior even in our rather difficult shooting conditions.

Cinematographer Stephan Massis (known for: Un monde à nous, Looking for Cheyenne and many more)

Cinematographer Stephan Massis talking about the ARRI Signature Prime Lenses.

The ALEXA LF camera and Signature Prime lenses are an elegant combination. I love the lenses; they strike a wonderful balance between modernity and character.

Cinematographer Matias Boucard (known for: Pixels, SK1, David Nolande and many more)

Cinematographer Matias Boucard talking about the ARRI Signature Prime Lenses.

With the 25 mm Signature Prime lens, you feel like you are there in the scene with the actors. The lenses are lightweight and are not too sharp, but with a certain softness and very specific.

Cinematographer Dan Laustsen ASC, DFF (known for: The Shape of Water, John Wick: Chapter 2 and 3, Crimson Peak and many more)

Cinematographer Dan Laustsen talking about the ARRI Signature Prime Lenses.

The Signature Primes are hyper sharp but they have a smooth roll off so they don’t feel that way.

Cinematographer Logan Schneider (known for: Drunk History, Gentefied, Watson, Ave Maria Bamford and many more)

Cinematographer Logan Schneider talking about the ARRI Signature Prime Lenses.

I love the look of the Signature Primes. They have a gentle feel to their contrast and resolution - sharp and crisp enough to see details in the shot, but not so defined and edgy as to look clinical. I designed shots to look directly into the sun. I really liked the flares: soft edged and blue-yellow in color. Signature Primes are a gorgeous complement to the magnificent ALEXA LF.

Cinematographer Bill Bennett ASC (known for: Kiss or Kill, In einem wilden Land, Outback and many more)

Cinematographer Bill Bennett talking about the ARRI Signature Prime Lenses.

I intentionally shot mundane subjects I wouldn’t normally cover, and the results got me really excited. The camera and lens captured every tonal nuance with unmatched detail, gradation and color. I love how the out-of-focus areas are rendered, contributing to a rich and vivid overall look.

Cinematographer Wang Yu (known for: Suzhou River, Fengshen Trilogy, The Golden Era and many more)

Cinematographer Wang Yu talking about the ARRI Signature Prime Lenses.

To me, the system embodies typical ARRI quality, but there is a new level of emotion to the images—a smoothness to the way the camera and lenses work together.

Cinematographer Tom Faehrmann BVK (known for: Das Wunder von Bern, Ulzhan - das vergessene Licht, Campus and many more)

Cinematographer Tom Faehrmann talking about the ARRI Signature Prime Lenses.

The Signature Primes are great lenses. Also, regarding the way the lenses are produced, I was surprised by their weight. With the new mount, a whole new lens architecture is possible.

Cinematographer Phillip Peschlow (Known for: Jim Button and the Wild13, Lommbock, Pagan Peak and many more)

Cinematographer Phillip Peschlow talking about the ARRI Signature Prime Lenses.

The Signature Primes look very nice. I think they put a lot of interesting ideas in those lenses. We as cameramen miss film obviously, we miss the organic look of film and having lenses that render faces in a more organic way is really important.

Cinematographer Karl Walter Lindenlaub ASC, BVK (Known for: Independence Day, Black Book, Chronicles of Narnia, Halo and many more)

Picture of Cinematographer Karl Walter Lindenlaub talking about the ARRI Signature Prime Lenses.

News & Updates

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Sep. 19, 2023

ARRI tools behind the migrants' journey of “Io Capitano”

Cinematographer Paolo Carnera relied on ALEXA Mini LF and ARRI Signature Primes to capture “Io Capitano,” the story of two African men and their dangerous passage from Senegal to Europe.

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Aug. 1, 2023

ARRI camera package on Disney+ documentary series “Farm Rebellion”

Cinematographer Johannes Obermaier BVK and 1st AC Georg Lanz reveal how they created a nimble camera setup with the ALEXA Mini LF, Signature Primes, Hi‑5, and Master Grip.

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May 26, 2023

How DP David Lanzenberg's cinematic expertise shines in Netflix’s “Wednesday”

Cinematographer David Lanzenberg creatively harnessed the ALEXA Mini LF, ARRI Signature Primes, and Orbiter lights to create captivating visuals in Netflix's hit series “Wednesday.”

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Apr. 21, 2023

Watch narrative project “An Ace up the Sleeve” put Orbiter through its paces

DP Christopher Probst ASC showcases the capabilities of the Orbiter, ARRI’s advanced LED light for image capture and color fidelity, in a short film titled “An Ace up the Sleeve.”

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Apr. 14, 2023

ARRI tools are important allies for Emanuele Zarlenga’s commercials

ALEXA Mini LF with Signature Primes, TRINITY stabilizer, and ARRI lights: Cinematographer Emanuele Zarlenga has made extensive use of ARRI tools in his latest commercials.

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Mar. 27, 2023

Álex de Pablo creates the look of “The Beasts” combining ALEXA Mini LF with ARRI lenses

ARRI technology helped DP Álex de Pablo define the two parts of “The Beasts,” winner of Best Film and Best Cinematography at the 2023 Goya Awards.

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Mar. 17, 2023

ARRI ALEXA LF, Signature Primes, and SkyPanels on the smash-hit Indian film “RRR”

Cinematographer K.K. Senthil Kumar ISC reports on his visual choices and challenges on the blockbuster Telugu-language action drama movie “RRR,” directed by S.S. Rajamouli.

Mar. 13, 2023

ARRI cameras, lenses, and lighting shine behind 2023 Oscar® winners

The 2023 Oscar winners in Best Picture, Best Cinematography, Best International Feature, and other categories put their trust in ARRI technology.

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Feb. 2, 2023

ARRI ALEXA Mini LF and Signature Primes capture the explosive cinematography of Netflix’s “The Big 4”

DP Batara Goempar ICS shoots action-packed scenes and heart-pounding stunts with the lightweight and visually gripping ARRI large-format system.

Jan. 24, 2023

DP Dennis Zanatta puts ARRI tools through their paces on “Grace”

The inspiring short film “Grace” was accomplished by DP Dennis Zanatta in harsh environments in the New Mexico desert with ALEXA 35, Signature Prime lenses, and ARRI Orbiter.

Award-winning camera equipment in action. A filmmakers solution MAXIMA.

Jan. 13, 2023

MAXIMA gimbal on “Empire of Light”

Key grip Gary Hymns tells ARRI how he, cinematographer Sir Roger Deakins CBE, ASC, BSC, and the camera and grip crew worked with MAXIMA on Sam Mendes’ new film “Empire of Light.”

DP using award winning camera equipment on set.

Dec. 21, 2022

ALEXA Mini LF and LF with Signature Primes on Indian blockbuster “Kantara”

Cinematographer Arvind Kashyap speaks to ARRI about working in large format on the challenging location shoot of director Rishab Shetty’s action thriller “Kantara.”

Cinematographer Batara Goempar uses many products of the arri camera systems ecosystem on set.

Dec. 6, 2022

ARRI’s large-format system magnifies the complexities of “Before, Now & Then”

Indonesian DP Batara Goempar ICS shares how he brought out the subtle emotions and calibrated nuances behind “Before, Now & Then” through immersive images captured with the ALEXA LF and Signature Primes.

DP Jean-Max Bernard uses ARRI's professional movie production tools to shoot the Netflix production Notre-Dame.

Nov. 22, 2022

DP Jean-Max Bernard brings Netflix series “Notre-Dame” to life with ARRI tools

Shooting a French miniseries about the Notre-Dame de Paris fire, cinematographer Jean-Max Bernard used ARRI Signature Primes, the ALEXA Mini LF, and SkyPanel lights to enhance the firefighters’ epic.

Camerimage awards group - olek urbanski at jordanki.

Nov. 21, 2022

Camerimage 2022 winners rely on ARRI cameras and lenses

At this year’s EnergaCamerimage, ARRI showcased tools and sponsored various educational and social offerings. ARRI cameras and lenses were also behind the top award-winning films, including the Gold, Silver, and Bronze Frog.

DP works with digital movie camera on the film set.

Oct. 26, 2022

How ARRI technology helped to create four visual worlds in Netflix’s “Robbing Mussolini”

Shot with the ALEXA Mini LF, Signature Primes, and ARRI lights, Netflix’s feature film “Robbing Mussolini” is structured into four aesthetic worlds. ARRI talked to DP Gian Filippo Corticelli about his experiences on set in Italy and colorist Andrea Baracca about the finishing touches of the film.

Oct. 13, 2022

DP Italo Petriccione utilizes ARRI lenses and lights for a journey through time and color

Using ARRI Signature Prime lenses along with ARRI SkyPanel, Orbiter, and ARRIMAX lights, cinematographer Italo Petriccione captured “The Return of Casanova,” a story with changing time periods and color designs.

DP, who works with ARRI equipment, one of them being a digital movie camera.

Sep. 20, 2022

DP Christophe Offenstein captures “La Tour” with ARRI ALEXA Mini LF and Signature Primes

César-winning duo of filmmakers pairs up with ARRI cameras and lights to bring the chilling atmosphere of “La Tour” to life.

DP works with digital movie camera on set.

Sep. 14, 2022

ARRI cameras and lighting behind the many works of Italian DP Michele Brandstetter de Bellesini AIC

From fashion commercials to series teasers, cinematographer Michele Brandstetter de Bellesini chooses to work with ARRI ALEXA Mini LF, ALEXA Mini, Signature Primes, TRINITY, and SkyPanel.

Sep. 29, 2022

ARRI honored with Engineering Emmy® for more than a century of creativity and technology

For ARRI’s contributions to the industry, the company received the Philo T. Farnsworth Corporate Achievement Award at the 74th Engineering, Science & Technology Emmy® Awards.

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Jul. 13, 2022

ARRI ALEXA LF, Mini LF, and Signature Primes behind the scenes of a Portuguese feature film

Cinematographer João Pedro Plácido aip talks to ARRI about choosing a Signature look for director Jeanne Waltz’s “The Wind Whistling in the Cranes.”

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Jul. 8, 2022

ARRI spotlights commercials and music videos: DP Mélodie Preel

In our second interview about shooting commercials for global brands, DP Mélodie Preel describes advertising as a great laboratory with high aesthetic stakes—and how ARRI tools help her to reach them.

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May 30, 2022

ARRI technology behind the scenes of Cannes 2022

At the 75th Festival de Cannes, the vast majority of participating films were equipped with ARRI technology, including Palme d’Or winner “Triangle of Sadness.” ARRI also enjoyed providing world-class equipment and hosting inspiring events at the Croisette.

1-2022-05-thomas-hardmeier-arri-camera-netflix-bigbug

May 12, 2022

Thomas Hardmeier and Laurent Héritier on “Bigbug” with ARRI cameras, lenses, and lights

DP Thomas Hardmeier and gaffer Laurent Héritier talk about their experience with the ALEXA LF, ALEXA Mini LF, ARRI Signature Primes, and SkyPanels on Jean-Pierre Jeunet’s “Bigbug” for Netflix.

Mar. 28, 2022

2022 Oscar® winners rely on ARRI cameras and lenses

The 94th Academy Awards recognized many outstanding films. Oscar® winners including “Dune,” “CODA,” “The Power of the Dog,” and “Drive My Car” were captured using ARRI technology.

Dec. 17, 2021

ARRI captures New York Fashion Week’s Khaite SS2022 show

DP Aiden Ulrich chooses ARRI ALEXA Mini LF’s, Signature Primes, and WCU‑4s to capture the Khaite SS2022 runway show at New York Fashion Week.

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Nov. 8, 2021

ARRI activities at EnergaCAMERIMAGE 2021

Offering guests a mixture of virtual and live events in Toruń, Poland, EnergaCAMERIMAGE will certainly be a highlight of 2021. Below are the full details of the publicly accessible ARRI events and activities at the festival this year.

Oct. 27, 2021

DP Julio Costantini on ARRI technology behind Netflix’ “Confessions of an Invisible Girl”

Brazilian DP Julio Costantini discusses the approach and technology utilized on his latest film “Confessions of an Invisible Girl.” The Netflix Original was shot on ARRI ALEXA Mini LF and ARRI Signature Primes in ARRIRAW and lit by ARRI SkyPanels.

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Aug. 30, 2021

Cinematographer Vladan Radovic awakens a pre-Roman aura for “Romulus” using ARRI cameras, lenses, and lights

Shot with the ARRI ALEXA Mini camera, lensed with ARRI Signature Primes, and lit with ARRI’s M-Series and SkyPanels, DP Vladan Radovic vividly recreates the lights and colors of Rome in the 8th century BC for “Romulus.”

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Jul. 23, 2021

ARRI equipment behind the prized films at Cannes

At the Festival de Cannes 2021, the vast majority of winning and participating productions relied on ARRI equipment. At and surrounding the event, ARRI played a behind the scenes role and also sponsored several prizes.

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Jul. 9, 2021

Customizing the ARRI Signature look

Australian DP Alexander Leeway crafts unique ARRI Signature Prime looks by using the lenses’ magnetic rear filter holder on his music video shoot for Phondupe’s "Silo".

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Jun. 2, 2021

Julien Hirsch chooses ARRI’s ALEXA Mini LF, Signature Primes, and SkyPanels for Xavier Beauvois’ “Drift Away”

Despite inclement weather conditions and a variety of indoor and outdoor settings, DP Julien Hirsch was able to “discover the flexibility and simplicity of the ALEXA Mini LF” on one of his latest projects.

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May 4, 2021

Rear diopters create a vintage canvas for ARRI Signature Prime lenses on Pepsi commercial

Director Blake Farber and director of photography Corrado Serri AIC share their experience shooting with the Mini LF and Signature Prime lenses for Pepsi's 'Discover' commercial.

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Dec. 18, 2020

ARRI ALEXA LF and Signature Primes on Christmas musical “Jingle Jangle”

Now streaming on Netflix, Jangle’s colorful, magical world was brought to life by DP Remi Adefarasin on ARRI ALEXA LF cameras and Signature Prime lenses.

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Aug. 26, 2020

DP Guillaume Schiffman AFC relies on the combination of ARRI ALEXA LF with ARRI Signature Prime lenses

“How to Be a Good Wife,” a hit this summer in French cinemas, along with soon to be released “My Cousin”and“Waiting for Bojangels” were all captured with ALEXA LF and ARRI Signature Prime lenses.Cinematographer Guillaume Schiffman AFC explains his choice of tools which also included ARRI SkyPanel and ALEXA Mini LF.

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Mar. 10, 2020

DP Michael Dwyer captures cinema verité in Justin Bieber’s new video “Intentions” with some help from the ALEXA Mini LF and ARRI Signature Prime lenses

Aided by the versatile camera combo of the ALEXA Mini LF and ARRI Signature Prime lenses, cinematographer Michael Dwyer melds documentary and cinema in Justin Bieber’s new video “Intentions”

Jun. 2, 2020

ARRI Signature Primes SUP 2.1

ARRI is releasing Signature Prime Software Update Package 2.1, including Lens Firmware LMC V2.1, Lens Bootloader V1.5 and Sensor Firmware V2.06.

Huge perspective range, consistent look

Signature Prime Consistent focal length Comparison

Compatibility of Signature lenses

ARRI Signature Prime and Signature Zoom lenses are equipped with the LPL (Large Positive Locking) lens mount. A wider diameter and shorter flange focal depth allow LPL lenses to be small and lightweight, with a fast T-stop and pleasing bokeh—a combination of features that would not be possible with the old PL lens mount.

ARRI has shared LPL specifications openly and free-of-charge across the industry, establishing the LPL lens mount as a standard interface between cameras and lenses. ARRI LPL lens mounts are available for ALEXA 65, ALEXA 35, ALEXA LF, ALEXA Mini LF, ALEXA Classic/XT/SXT, ALEXA Mini and AMIRA cameras. In addition, third parties offer LPL lens mounts for cameras, director's viewfinders, and lens testing tools, so ARRI Signatures and other LPL lenses can be universally used.

Picture showing the Compatibility of Signature Prime Cine Lenses.

Example Footage of ARRI Cine Signature Prime Lenses.

ARRI Technology

Lens Mounts
Great images derive from great lenses with their individual touch to the image. For this to happen the lens has to sit precisely where it should be, responsible for that is the lens mount.
Get to know all our lens mounts and find out what makes our new LPL mount unique!

Learn more...

Image Processing
A steady look-out for image quality is key to delivering the best possible image through a given pipeline. In this way new developments and ways to shape the DoP's vision on set can be integrated into our cameras via new software releases. ARIRAW footage recorded before such an update benefits as well as it can be re-processed through an updated pipeline.

Learn more...

Picture of an example view on Film Processing in ARRI's Film Lab.

ARRI Build Quality
Almost a century of experience, an obsessive attention to detail and an intimate familiarity with the conditions on set have led to generations of ARRI cameras that are robust, reliable and simple to operate - all features that our digital cameras have inherited.

Learn more...

ALEXA Classic "T800" burnt to crisp in a fire – but still works.

ALEV Sensors
Our very own ALEV III sensor plays its strengths in a film-like look and feel with HDR capability (since 2010). Originally developed for our ALEXA camera family, it had the same height and width as a 35mm film frame. Nowadays the ALEV III comes to live in different cameras and shapes: ALEXA 65 uses the A3X version - a 65mm sensor - whereas ALEXA LF and ALEXA Mini LF use A2X, the slightly smaller variant that covers a little bit more than "full frame".

Learn more...

Viewfinders
Our viewfinder are specifically designed to meet the needs of professional camera operators by offering an extremely fast image display, high image quality, accurate color reproduction and a number of features inherited from our optical viewfinders, including surround view.

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Workflow
The concept behind the term "workflow" is the digital film lab. Hence being able to view, edit and "post" footage recorded with our digital cameras. We develop our own Software Development Kit (ARRIRAW SDK) for processing ARRIRAW data to RGB images and talk to 3rd party vendors to ensure support in their tools.

Learn more...

ARRI Tools, card reader and cables lying next to a laptop

Video Room

DP José Luis Alcaine on shooting "Strange Way of Life" on ALEXA 35 & Signature Prime lenses

Sitting down with ARRI, Spanish cinematographer José Luis Alcaine AEC (“The Skin I Live In”, “Volver”) talks about the western short film “Strange Way of Life” (“Extraña forma de vida”), directed by Pedro Almodóvar. The film was captured with the ALEXA 35 and ARRI Signature Prime lenses and premiered at Cannes Film Festival 2023. “With the ALEXA 35, the color performance was very good, as...

DP Taro Kawazu on "Alice in Borderland" Season 2 shot with ALEXA Mini LF and Signature Lenses

Japanese cinematographer Taro Kawazu takes us behind the scenes of “Alice in Borderland” Season 2 and shares how they filmed the second installment of the hit series. This season, he has upgraded from a prototype to a fully-operational ALEXA Mini LF and has added Signature Zooms to his arsenal of lenses.

Learn more about ARRI’s large-format camera systems at arri.com.

ARRI Signature Lenses Showreel 2023

Vision, variety, and passionate virtuosity – all are combined in the ARRI Signature Lenses Showreel 2023.
Every clip was shot with Signature Prime or Signature Zoom lenses in large format or Super 35, but the diversity is staggering – a kaleidoscope of different locations, production types, skin colors, lighting conditions, and visual styles. Collectively, the clips demonstrate the smooth...

Lensing the "Banshees of Inisherin" – Ben Davis BSC

Cinematographer Ben Davis BSC shared his creative processes on Martin McDonagh’s film “The Banshees of Inisherin”during a Q&A at the 2023 BSC Expo – a seminar sponsored by ARRI. The movie was captured with an ALEXA Mini LF and ARRI Signature Prime lenses supplied by ARRI Rental.
Learn more about ARRI Signature lenses at...

Behind the Scenes of "Taste of Freedom" with ARRI Signature Prime lenses

From extreme wides to extreme longs – ARRI Signature Primes are the best choice for a classic, beautiful look that’s matched across all focal lengths from 12 mm to 280 mm. Cinematographer Josua Stäbler recently limited his kit to the widest and longest lenses in the range for ARRI's "Taste of Freedom" showreel. Watch the final showreel here: https://youtu.be/qE1TKxzI5DI
Learn more about...

The cinematography behind period musical ”Payung Fantasi” shot with ARRI equipment

Indonesian Director Naya Anindita and Cinematographer Bella Panggabean were impressed with ARRI equipment and ARRI LUTs while filming the musical series “Payung Fantasi” inspired by Ismail Marzuki, which now has millions of views on YouTube.

You can watch the series at Indonesia Kaya’s YouTube channel.
Special thanks to DP Rahul Hemnani, Barracuda Film Gallery and Temata Productions for...

Taste of Freedom with ARRI Signature Primes

Cinematographer Josua Stäbler limited his lens kit to the widest and longest Signature Primes for this new showreel, demonstrating how the 12, 15, 200, and 280 mm can bring exciting new perspectives to visual storytelling. Extreme focal lengths, but just as smooth, forgiving, and easy to work with as the rest of the Signature Prime range.
ARRI Signature Primes. Consistent Performance.

DP Daria D'Antonio on Netflix's “The Hand of God”

Cinematographer Daria D'Antonio talked to us about her work on director Paolo Sorrentino's film “The Hand of God.” After a strong performance at the Venice Film Festival, the film has received nominations for BAFTA, Golden Globe, and Academy Awards.

Daria D'Antonio – “I chose to use the large format in combination with ARRI Signature Primes because I wanted the background in the scenes to...

ARRI Interview: Javier Salmones on "El Cid" (Subtitles in EN)

Cinematographer Javier Salmones AEC talks to ARRI about his latest big project “El Cid” - the story of Rodrigo Díaz de Vivar, a Castilian nobleman and war hero in medieval Spain. Javier explains the advantages of large-format cinematography and shares his experience of shooting with ALEXA Mini LF and Signature Primes. Be inspired.

Colorists Talk about the ARRI Signature Prime look

Morad and Evgeniya Abdel-Fattah had a few impressive test runs with the new ARRI Signature Prime range of lenses. Afterwards, leading Russian colorists Bozhedarka Maslennikova, Andrey Osadchiy, and Dmitry Stelma discussed the results and the characteristics of the lenses. Watch for yourself and be inspired.

ARRI Signature Primes Test Shoot

Morad Abdel-Fattakh, a famous Russian cinematographer, has put the ARRI Signature Primes through their paces.
“We all know what lens tests look like – they can seem a bit like research work. We wanted to test lenses not just as technical equipment, but as tools to create atmosphere. In the work of a cinematographer, optics are one of the main contributors to image creation, which is about...

ARRI Signature Prime Summer 2020 Showreel

Showcasing the versatility of the Signature Primes and their ability to render emotionally rich images in all weather and lighting conditions, from bright exteriors and sun-filled rooms to atmospheric nightscapes, muted cloud cover and shadowy interiors. Whether for a movie, TV series, or commercial, the timeless look of ARRI Signature Primes adapts to different styles and situations...

ARRI Asia Hour: Visual Storytelling mit ARRI Signature Primes

Signature Prime lenses were designed to offer a timeless and unique look never seen before. Find out how these modern lenses have refined the art of visual storytelling. Watch as master cinematographers from Asia talk about their experience and expertise in shooting with Signature Prime and how they’re changing the way the capture scenes.
Guest Cinematographers: DP Tey Clamor (LPS), DP...

ARRI Lens Service

As one of the world's leading manufacturers of motion picture cameras, lighting, and archival equipment, ARRI is also committed to providing the finest technical support for its products at 13 advanced service centers worldwide. To offer lens customers an even greater level of support, ARRI has recently expanded its lens service capabilities. Exclusive-level lens service is now available in...

ARRI Signature Primes - Focal Length Demo

See a short demonstration video of how the different Signature Prime focal lengths from 15 - 200 mm perform (position of camera remains the same).

ARRI Signature Primes - Focus and Bokeh Demo

Watch this focus and bokeh demonstration video of the ARRI Signature Prime Lenses. The different focal lengths from 15 - 200 mm capture a scene wide open, while the focus is being shifted (position of camera remains the same).

ARRI Signature Primes Perspective Demo

See the various perspective results of different Signature Primes focal lenghts at varied distances to the camera.

ARRI Signature Primes Tech Talk: 4 things you have to know

From warm, smooth skin tones to soft bokeh and delicate flares, ARRI's Cinema Lens Specialist Art Adams shows you the four unique characteristics to look for in the new Signature Prime lenses. With 16 lenses in the range from 12mm to 280mm, the Signature Primes are modern lenses with a timeless look.
To learn more about the Signature Primes lenses, visit https://www.arri.com/signature

ARRI Signature Primes Tech Talk: Diopters and Rear Net Holders

What's old is new again! Discover how retro filmmaking techniques such as nets, and diopters can help you customize the look of your Signature Prime lenses.

ARRI Interview: The immersive camera movement of “1917”

Roger Deakins CBE, ASC, BSC, his wife James Deakins, and TRINITY operator Charlie Rizek discuss how they used ARRI ALEXA Mini LF, ARRI Signature Prime lenses, and TRINITY stabilization to achieve the real-time camerawork of Sam Mendes’ technically audacious war film “1917.”

ARRI Interview: Chris Doyle about ARRI Signature Primes

The well-known cinematographer Christopher Doyle to give his feedback on the Signature Prime lenses, which he used for his latest movie “Just 1 Day”.

ARRI Interview: Roger Deakins about “1917”

The celebrated cinematographer Roger Deakins CBE, ASC, BSC joins ARRI to give his feedback on ALEXA Mini LF, Signature Prime lenses, and the TRINITY stabilizer, all of which he used on director Sam Mendes’ new film, “1917.”

ARRI large-format camera system: Opia

When the ALEXA LF and Signature Primes were launched in Australia, ARRI entrusted the new camera and lenses to cinematographer Kieran Fowler NZSC, ACS and director Nik Kacevski. They took the ALEXA LF out into the dark heart of Sydney to tell an unsettling story that takes us from dusk to dawn. Learn more: http://www.arri.com/largeformat

ARRI large-format camera system: An excursion on architecture

Tom Fährmann BVK uses ALEXA LF and ARRI Signature Prime lenses to document the creative preoccupations of an architect, which bear striking similarities to those of a cinematographer: light, texture, detail, and the expression of emotions through practical skill. All of them are captured perfectly by the ARRI large-format system. Learn more: https://www.arri.com/largeformat

ARRI large-format camera system: Papa

For this inspiring short film on loss and friendship, cinematographer Logan Schneider paired the organic, silky nature of Signature Primes with ALEXA LF for unprecedented clarity to humanize a robot and immerse the audience. Explore more: https://www.arri.com/largeformat

ARRI large-format camera system: Face to face

In contrast with other ALEXA LF showreels exploring low light and shadow, cinematographer Tom Fährmann BVK shot a diverse palette of faces and skin tones against a white background. Varying portrait lighting illustrates the humanity, color and exceptional clarity of the ALEXA LF/ARRI Signature Prime combination. Learn more: https://www.arri.com/largeformat

ALEXA LF with 125 mm ARRI...

ARRI large-format camera system: The artistic spirit

Cinematographer Wang Yu navigates the atmospheric studio and creative inspirations of the celebrated Chinese artist and furniture-maker, Shao Fan. Moving lights, ghostly shadow effects, angular and curved forms, architecture and perspective, raw materials and tools-all reveal the distinctive texture of ALEXA LF images. Learn more: https://www.arri.com/largeformat

ALEXA LF with 25, 47, 75...

ARRI large-format camera system: Soulful connections

Shooting wide open with ARRI Signature Prime lenses for shallow focus and gorgeous bokeh, cinematographer Matias Boucard works purely with natural light and available sources. Capturing human friendships on location in Thailand, this clip beautifully showcases the detail, dynamic range and sensitivity of ALEXA LF. Learn more: https://www.arri.com/largeformat
ALEXA LF with 35, 47 and 75 mm...

ARRI Signature Prime Showreel 2019

Experience what’s possible in a lens with the new ARRI Signature Primes Showreel 2019. From warm, smooth skin tones to soft bokeh and delicate flares, the showreel demonstrates the benefits of the Signature Primes with footage from productions around the world. With 16 lenses in the range from 12mm to 280mm, the Signature Primes are modern lenses with a timeless look. To learn more about the...

Technical Data

Name	ARRI Signature Prime 12/T1.8*	ARRI Signature Prime 15/T1.8	ARRI Signature Prime 18/T1.8	ARRI Signature Prime 21/T1.8
Lens Mount	LPL	LPL	LPL	LPL
Aperture	T1.8 - T22	T1.8 - T22	T1.8 - T22	T1.8 - T22
MOD from sensor plane (minimum marked distance)	0.35 m / 14“	0.35 m / 14“	0.35 m / 14"	0.35 m / 14"
MOD from lens front	0.07 m / 2.6"	0.1 m / 4.3"	0.13 m / 5.1"	0.13 m / 5.1“