ARRI Signature Prime Lenses
Organic images filled with life and emotion
The newest members of the ARRI lens family are the 16 large-format and the Super 35 ARRI Signature Prime lenses, ranging from 12 mm to 280 mm and fitted with the ARRI LPL mount. While the Signature Primes exemplify state-of-the-art optical precision, they have been designed to render organic, emotionally engaging images, gently softening and texturizing the large format with natural skin tones and creamy bokeh. A fast T-stop of T1.8 facilitates shallow depth of field and the smooth focus fall-off gives subjects heightened presence in the frame.
Features
- Timeless aesthetic
- Precision engineered
- Warm, emotional images
- Lightweight magnesium casing
- Creamy bokeh
- Beautiful skintones
- Magnetic rear filter holder for nets, glass elements, etc.
The ARRI Signature Prime range is the first cine lens series to feature machined magnesium lens barrels, making the optics incredibly lightweight and robust. They are also 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 is being licensed to other lens and camera manufacturers.
Quotes
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
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
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
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
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
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
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
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
These lenses are a leap forward in the same way that Master Primes redefined what was possible optically. The look and feel are completely new, consisting of a pleasing contrast level combined with a radical clarity. I’m not sure how they pulled this off, but they were wonderful to work with.
Cinematographer Logan Schneider
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
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
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
Detachable Magnetic Rear Filter Holder
Detachable Net Filter Holder
The ARRI Signature Primes' net filter holder is magnetic, so no tool is needed to create all kind of possible looks.
It enables you to add a personal touch to the existing high-end technology and to make endless creative choices with your own filter designs. See some examples of the different looks that are possible with the filter holder in this video.
Compatibility of Signature Prime lenses
ARRI Signature Prime lenses are equipped with the LPL (Large Positive Locking) lens mount, a key element of ARRI’s large-format camera system. The 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 shares LPL specifications openly and free-of-charge across the industry, in order to establish the LPL lens mount as the new standard interface between cameras and lenses. ARRI LPL lens mounts are available for ALEXA 65, ALEXA LF, ALEXA Mini LF, ALEXA Classic/XT/SXT, ALEXA Mini and AMIRA cameras. In addition, third parties already offer LPL lens mounts for cameras, director's viewfinders, and lens testing tools, so ARRI Signature Primes and other LPL lenses can be universally used.
Video Room
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 |
Release | 12/2019 | 06/2019 | shipping | shipping |
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“ |
Length from flange | 239 mm / 9.41" | 197 mm / 7.75" | 178 mm / 7.01“ | 178 mm / 7.01“ |
| Magnification ratio at MOD (Paraxial) | 1:7.0 | 1:10.3 | 1:9.2 | 1:8.2 |
Entrance pupil position (related to image plane, in direction to object) | 262.5 mm / 10.34“ | 203.0 mm / 7.99“ | 189.5 mm / 7.46“ | 183.4 mm / 7.22“ |
Angle of view H - V - D for LF Open Gate | 114.2° / 94.0° / 124.0° | 102.0° / 81.2° / 112.9° | 91.4° / 71.0° / 102.6° | 82.7° / 63.0° / 94.0° |
Maximum housing diameter | 135 mm / 5.31" | 157 mm / 6.18" | 115 mm / 4.52" | 115 mm / 4.52" |
Front diameter | 134 mm / 5.28" | 156 mm / 6.14" | 114 mm / 4.49“ | 114 mm / 4.49“ |
Weight (lens only) | 2.8 kg / 6.2 lb | 2.8 kg / 6.1 lb | 2.0 kg / 4.4 lb | 1.9 kg / 4.2lb |
Item number meter | KK.0019185 | KK.0019188 | KK.0019191 | KK.0019193 |
Item number feet | KK.0019183 | KK.0019187 | KK.0019189 | KK.0019192 |
| Name | ARRI Signature Prime 25/T1.8 | ARRI Signature Prime 29/T1.8 | ARRI Signature Prime 35/T1.8 | ARRI Signature Prime 40/T1.8 |
Release | shipping | shipping | shipping | shipping |
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 | 0.13 m / 5" | 0.13 m / 5" | 0.13 m / 5" | 0.13 m / 5" |
Length from flange | 178 mm / 7.01“ | 178 mm / 7.01“ | 178 mm / 7.01“ | 178 mm / 7.01“ |
| Magnification ratio at MOD (Paraxial) | 1:7.1 | 1:6.4 | 1:5.4 | 1:4.8 |
Entrance pupil position (related to image plane, in direction to object) | 177.6 mm / 7.00“ | 165.8 mm / 6.53“ | 162.1 mm / 6.38“ | 159.3 mm / 6.27“ |
Angle of view H - V - D for LF Open Gate | 73.0° / 54.4° / 84.0° | 65.1° / 47.9° / 75.7° | 55.5° /40.2° / 65.3° | 49.3° / 35.4° / 58.3° |
Maximum housing diameter | 115 mm / 4.52" | 115 mm / 4.52" | 115 mm / 4.52" | 115 mm / 4.52" |
Front diameter | 114 mm / 4.49“ | 114 mm / 4.49“ | 114 mm / 4.49“ | 114 mm / 4.49“ |
Weight (lens only) | 1.9 kg / 4.2lb | 1.8 kg / 4.0lb | 1.7 kg / 3.7lb | 1.8 kg / 4.0lb |
Item number meter | KK.0019196 | KK.0019199 | KK.0019102 | KK.0019201 |
Item number feet | KK.0019194 | KK.0019197 | KK.0019099 | KK.0019200 |
| Name | ARRI Signature Prime 47/T1.8 | ARRI Signature Prime 58/T1.8 | ARRI Signature Prime 75/T1.8 | ARRI Signature Prime 95/T1.8 |
Release | shipping | shipping | shipping | shipping |
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) | 0.45 m / 18“ | 0.45 m / 18“ | 0.65 m / 26“ | 0.85 m / 2‘ 9“ |
MOD from lens front | 0.23 m / 9.0“ | 0.23 m / 9.0“ | 0.43 m / 17“ | 0.63 m / 2‘ 1“ |
Length from flange | 178 mm / 7.01“ | 178 mm / 7.01“ | 178 mm / 7.01“ | 178 mm / 7.01“ |
| Magnification ratio at MOD (Paraxial) | 1:6.3 | 1:5.4 | 1:7.2 | 1:7.9 |
Entrance pupil position (related to image plane, in direction to object) | 155.8 mm / 6.13“ | 143.9 mm / 5.66“ | 115.5 mm / 4.55“ | 85.4 mm / 3.36“ |
Angle of view H - V - D for LF Open Gate | 42.6° / 30.4° / 50.8° | 34.9° / 24.8° / 41.8° | 27.5° /19.3° / 33.3° | 21.6° / 15.3° / 26.5° |
Maximum housing diameter | 115 mm / 4.52" | 115 mm / 4.52" | 115 mm / 4.52" | 115 mm / 4.52" |
Front diameter | 114 mm / 4.49“ | 114 mm / 4.49“ | 114 mm / 4.49“ | 114 mm / 4.49“ |
Weight (lens only) | 1.8 kg / 4.0lb | 2.0 kg / 4.4lb | 1.9 kg / 4.2lb | 1.9 kg/4.2lb |
Item number meter | KK.0019105 | KK.0019203 | KK.0019107 | KK.0019205 |
Item number feet | KK.0019104 | KK.0019202 | KK.0019106 | KK.0019204 |
| Name | ARRI Signature Prime 125/T1.8 | ARRI Signature Prime 150/T1.8 | ARRI Signature Prime 200/T2.5 | ARRI Signature Prime 280/T2.8 |
Release | shipping | shipping | shipping | shipping |
Lens Mount | LPL | LPL | LPL | LPL |
Aperture | T1.8 - T22 | T1.8 - T22 | T2.5 - T22 | T2.8 - T22 |
MOD from sensor plane (minimum marked distance) | 1 m / 3‘ 4“ | 1.5 m / 5‘ | 1.8 m / 6‘ | 2.5 m / 8‘ 3“ |
MOD from lens front | 0.78 m / 2‘ 7“ | 1.25 m / 4‘ 2“ | 1.54 m / 5‘ 1" | 2.18m / 7' 2" |
Length from flange | 178 mm / 7.01“ | 208 mm / 8.19“ | 218 mm / 8.58“ | 278mm / 10.93" |
| Magnification ratio at MOD (Paraxial) | 1:7.0 | 1:9.0 | 1:8.3 | 1:8.3 |
Entrance pupil position (related to image plane, in direction to object) | 52.6 mm / 2.07“ | 54.5 mm / 2.15“ | 34.9 mm / 1.37“ | 36.9 mm / 1.45“ |
Angle of view H - V - D for LF Open Gate | 16.6° / 11.6° / 20.2° | 13.9° / 9.7° / 16.9° | 10.4° / 7.3° / 12.6° | 7.4° / 5.2° / 9.0° |
Maximum housing diameter | 115 mm / 4.52" | 135 mm / 5.31“ | 135 mm / 5.31“ | 135 mm / 5.31“ |
Front diameter | 114 mm / 4.49“ | 114 mm / 4.49“ | 114 mm / 4.49“ | 134 mm / 5.28“ |
Weight (lens only) | 2.3 kg / 5.1lb | 3.25 kg/7.3lb | 3.1 kg / 6.13lb | 4.3 kg / 9.48lb |
Item number meter | KK.0019109 | KK.0019207 | KK.0019210 | KK.0019213 |
Item number feet | KK.0019108 | KK.0019205 | KK.0019209 | KK.0019211 |
Downloads
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!
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.
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.
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".
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.
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.
