Unsurpassed image quality
Better shots, faster
Future-proof investment
The widest, most consistent focal length range
Detachable ARRI Magnetic Rear Filter Holder for Signature lenses
Signature Zoom 16-32 mm
Signature Zoom 24-75 mm
Signature Zoom 45-135 mm
Signature Zoom 65-300 mm
Signature Zoom Extender 1.7x
The 65-300 mm lens is FANTASTIC. Just like the Signature Primes, this zoom has super smooth bokeh which helps accentuate the 3-dimensional pop of the subject. Since we are integrating cinema cameras into the live broadcast, it's important we shoot with lenses like this as it completely contrasts with the live footage from the broadcast cameras. It makes it extra special.
Director of Photography Eric Girgash
I was pleasantly surprised by the lenses' distortion-free image. No matter what focal length I set, the lines were straight, with no edge blur or vignetting. And yet on the control monitor the image didn't look technical or digital, but organic and attractive. Skin tones are soft, smooth, and cosmetic, but also vital and natural. The image shows a clarity.
Cinematographer Oliver Maier
In my professional career I have always suffered from the mismatch between prime lenses and zooms. Now, with the Signature Primes and Signature Zooms, I feel safe and relieved. Thank you, ARRI.
Cinematographer Kiko de la Rica
The color rendition and character of the signature primes is my favorite of full frame optics — to have all of that in the flexibility of zooms is incredibly powerful and will be especially useful in documentary work. Big cheers to the magic of the Signature lens family.
Cinematographer Michael Dwyer
The 65-300 Signature Zoom is unimaginably beautiful! I’ve never seen anything like it, I am so impressed. Finally, a zoom that really looks, feels, and behaves like a prime lens. A perfect match to the signature primes I was using on the show, I shot it wide open on B camera across the entire range and it was just stunning. Incredible skin tones, zero breathing, gorgeous falloff and bokeh, handled strong backlighting perfectly, just beautiful all around. Thank you, ARRI!
Cinematographer Pablo Berron
A quality long lens is key in capturing the wildlife. The 65-300mm, with a 1.7x extender turning it into a 110-510mm, was perfect to get in close, while not disturbing any of the animals’ behavior. We also took the 45-135mm on our adventure and it was the perfect complement, capturing the little details of the landscape beautifully. ARRI’s Signature Zooms were perfect for capturing our Yellowstone winter adventure.
Cinematographer Phillip Baribeau
The lens behaved very, very nicely outside. We never had any harsh flares or bad effects from the sunlight, even when panning into the sun.
Cinematographer Laszlo Bille
Large-format shooting is a big trend in the film industry, and I've always been searching for large-format zoom lenses that are compatible with prime lenses. After trying Signature Zooms, I've found that their exceptional image quality, fast T-stop, and close-to-zero distortion are a perfect match for the Signature Primes.
DP O Sing-Pui HKSC
I don’t use zoom lenses much compared to prime lenses, but the Signature Zooms are really useful and convenient. I’m also very impressed with their optical quality. When I switched from Signature Primes to the 45–135 mm Signature Zoom, I didn’t see any difference with output quality. It surprised me, and this is something that changed my mind about zoom lenses. There definitely will be no hesitation next time I get the chance to use it.
DP Rapatchanun Cochaputsup
No one will be surprised to find that the Signature Zooms are excellent in optical performance, but what really fascinates me is the image that they deliver. It’s hard not to love the look these lenses create. It’s the very same timeless look that the Signature Primes are loved for.
DP Rick Lau
The Signature Zooms are very light. The skin tone performance is exceptional and they have quite a low dispersion, which is critical when shooting with zoom lenses in very bright environments.
Chief EFP camera operator Benny Chak from TVB
The contrast and sharpness of the Signature Zooms is incredible. They seamlessly match when intercut with Signature Primes. The T2.8 stop and superior optical quality make these my first choice.
Cinematographer Rathnavelu ISC
The optical quality of the Signature Zooms is very good – far beyond my previous experience of zoom lenses. To me they don’t feel inferior to primes, especially with the T2.8 aperture, which is very convenient and undoubtedly reduces the lighting setup.
Cinematographer Luo Pan ASC
The zooms behaved phenomenally. The color separation and detail in low light is exceptional, throughout the zoom range. There is no exposure ramping whatsoever, and the bokeh is beautiful.
Cinematographer Logan Schneider
I really enjoyed the form factor and the sharpness of the Signature Zoom lenses. They rendered skin tones well and were very pleasing to use. What cool lenses for the LF format!
DP Pithai Smithsuth
The Signature Zooms are a great complement to the arsenal of Signature Primes, matching in quality and characteristics. I really like the range of the lenses, which go from offering great portrait-style options all the way to the true long-lens feel of a proper zoom.
Cinematographer Jimmy Matlosz
The resolution of the ARRI Signature Zooms is very high, and yet skin tones are natural. I especially like the smooth out-of-focus imaging, and was surprised how well they match Signature Primes. If I hadn't shot the images myself, it would be very difficult for me to tell which ones were prime and which were zoom.
Cinematographer Da Mi
The Signature Zooms give you the unsurpassed image quality that the Signature Primes also have. And they’re still light enough for me to shoot handheld. I especially love that the whole Signature lens series has the magnetic rear filter holder, which I’ve always felt opens up all kinds of personalized creative looks and possibilities.
DP Christopher Doyle HKSC
Signature Zooms have exactly the same style as the Signature Primes – natural, crisp, and sharp on the one hand, but soft and aesthetic on the other. These are lenses which are suitable for any project.
Cinematographer Cao Yu
The Signature Zooms definitely save time and money. On previous shoots I have found DPs to be reluctant to use a zoom, but I only heard positive feedback from our crew when we tried the Signature Zooms. They made the work on set faster and easier, and our postproduction teams loved the outstanding image quality.
Producer Da Fei
These are revolutionary zooms that have solved the problems of zoom lenses. It’s a beautiful image that I could look at forever. Signature Zooms meet the requirements of being efficient and economical, and are great lenses for the modern age.
DP/camera operator Go Yamatoya JSC
I always look for two things in a zoom lens: it should match well with the prime lens and have a bright aperture value. If the zooms and primes match perfectly, I don't have to worry about color when multiple cameras are in use on set. It will also save time during grading. If the aperture value is bright, I can shoot without worrying about low-light use. There are no other lenses that satisfy these requirements better than the Signature Zooms.
DP Kosuke Yamada
The arrival of the Signature Zooms for large format has been long-awaited. Like the Signature Primes, the resolution is very high, but skin tones are beautiful and soft. These are lenses for the high-resolution digital era. I want to use them for a project that requires a unique look by changing the front or rear parts of the lens. Since there are magnetic rear filter holders that you can put anything in, you’re free to experiment with crazy ideas, and I love it when people think of crazy things.
DP Sohei Tanigawa JSC
| Name | ARRI Signature Zoom 16-32/T2.8 | ARRI Signature Zoom 24-75/T2.8 | ARRI Signature Zoom 45-135/T2.8 | ARRI Signature Zoom 65-300/T2.8 | ARRI Signature Zoom 65-300/T2.8 + 1.7x Extender |
Lens mount | LPL | LPL | LPL | LPL | LPL |
Aperture | T2.8 - T22 | T2.8 - T22 | T2.8 - T22 | T2.8 - T22 | T4.95 - T39.62 |
MOD from sensor plane (minimum marked distance) | 0.45 m / 1'6" | 0.7 m / 2'6" | 1 m / 3'4" | 1.8 m / 6' | 1.8 m / 6' |
MOD from lens front | 0.194 m / 7.64" | 0.412 m / 16.22" | 0.656 m / 25.83" | 1.8 m / 6' | 1.8 m / 6' |
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.
ARRI Signature Lenses are compatible with nearly all digital cinema cameras on the market.
Below we have compiled a list of lens mounts and lens mount adapters you can use to bring the Signature Look to your camera.
LPL Mounts for camera bodies
ARRI LPL Mount (LBUS) K2.0018983
ARRI LPL Mount (LBUS) K2.0018983
ARRI LPL Mount ALEXA K2.0019072
The ALEXA 65 comes standard with the ARRI LPL Mount ALEXA 65. Find out more by contacting ARRI Rental.
LPL adapters for third-party lens mounts*
*ARRI assumes no responsibility with regard to an inaccuracies of given information. Lists of products are subject to change without notice.
Aesthetically, yes. You should expect Signature Zooms and Signature Primes to intercut seamlessly. Their center resolution, warm hue, skin tone rendition, bokeh, and focus roll-off are a perfect visual match.
Completely eliminating any one aberration results in enhancing another, so we pursued a balanced approach such that no single aberration stands out. We then built our look upon this base.
Signature Primes are remarkably distortion free, to a degree only possible with prime lenses, so Signature Zooms will show more distortion by comparison, but considerably less than one might see in other zooms.
While most Signature Primes exhibit no visible focus breathing, Signature Zooms do show some of this at longer focal lengths, where it is less noticeable to the eye. At the wide end, where backgrounds tend to be sharper and focus breathing is more obvious, they show no visible breathing.
Similar to Signature Primes, you will see consistent corner illumination when these lenses are used at equivalent focal lengths. This results in the familiar ARRI Signature “cat’s eye” bokeh at wide open apertures, no matter which focal length is employed.
ARRI Signature Primes show this effect at T1.8, transitioning to perfectly round bokeh by T2.5. ARRI Signature Zooms see the same change from T2.8 to T5.6. This is by design.
The exposure in the center of the image DOES NOT CHANGE with focal length. There is no overall drop in exposure, only a subtle vignette designed to match the characteristics of ARRI Signature Primes. This illumination characteristic is consistent across all ARRI Signature Zooms. Changing from a Signature Zoom to another Signature Zoom or a Signature Prime does not result in a dramatic change in look.
There are many aspects of the ARRI Signature Zooms’ design that contribute to their light weight. Chief among these is their advanced optical design and the use of machined magnesium in their housings.
All ARRI lenses are built from scratch to our exact specifications. We define the look and feel, and our manufacturers must achieve our goals within very fine tolerances. Our Signature Zoom manufacturing partner produces high-precision optics for a number of other industries, and has never made a cinema lens before. This made them receptive to crafting a lens with a radical new look for digital cinema, as they had no preconceived notions regarding what a cinema lens should look like.
Every lens offered for sale under the ARRI name is an original design, and the Signature lenses are no different.
No. LPL is the new standard for the digital era. It is designed around the specific needs of digital cameras and will not work on film cameras. LPL’s reduced flange depth allows for high-performance lens designs across multiple formats.
All Signature lenses are near telecentric. Light exiting the rear of the lens will strike the sensor at as close to a right angle as possible across the entire surface of the sensor. This eliminates a number of digital sensor-specific optical and color problems and should work with all foreseeable future sensor designs. A requirement for near telecentricity is that the rear of the lens must be as large as the sensor. For this reason, a PL mount lens can never be made telecentric for a large-format sensor.
No. ARRI Signature lenses are multi-format lenses. They work just as well with Super 35 sensors as they do with large-format sensors, and they perform spectacularly on cameras with both small and large pixel pitches.
The Signature Zooms share the same timeless look as the Signature Primes. They are high-resolution lenses, but this does not equate to a clinical look. An exceptionally high-resolution lens resolves the transitions across edges with greater accuracy, resulting in an image that captures all the detail present in the scene, but without harshness. Rather than edges feeling hard or aliased, they feel smooth and natural. One cinematographer describes the Signature look as “like looking through a beautiful window.”
The ARRI Signature look is designed to meet the needs of HDR, both technically and aesthetically. As displays increase in resolution and dynamic range, they feel more immersive. Lens aberrations, such as chromatic aberration, become more noticeable and distracting. ARRI Signature Zooms are perfect for fast-paced feature and television productions with a long shelf life, as their look will improve with time rather than degrade.
The ARRI Signature Zoom 1.7x Extender is a high-performance optical device which is optimized for the Signature Zoom 65-300/T2.8 and Signature Prime 280/T2.8. It delivers its best optical performance with just those two lenses. We can only guarantee mechanical clearance for these two lenses, so please don’t use the extender with any other lenses. When you use the extender with these two lenses you have to remove the Magnetic Rear Filter Holder from the base lens and put it onto the rear of the extender.
No, only the Signature Prime 12/T1.8, the Ultra Wide Zoom 9.5-18/T2.9, and the Anamorphic Ultra Wide Zoom 19-36/T4.2 have optical image rotation.
Every Signature Zoom lens will have a dedicated aluminum case.
Changing between metric and imperial scale (meters and feet) is quite simple. Just remove the existing scale ring, turn it by 180° and assemble it again.
Every Signature Zoom will be delivered with a zoom lever, which you can mount at different positions and angles.
This problem is caused when the supply voltage of the Sony Venice camera is set to a value which is too low. This leads to the behavior that the lens is not recognized by the camera, in which case no lens information (Cooke /i) is shown on the camera display. However, it can also happen that the lens is detected by the camera, but the metadata is only available sporadically, which leads to a flickering of the lens information on the camera display.
The problem can be solved as follows: the Sony Venice has the option to choose between two different supply voltages:
- 8-24 V
- 24 V
By choosing the option 24 V, a continuous detection of the lens by a Sony Venice camera can be ensured.
The supply voltage of the Sony Venice can be set in the following menu: Technical > Lens Configuration > PL-Mt Voltage > Set to 24V
Please see the Sony Venice Menu for further details.
Contact me for an offer and keep me updated on product news.
