Signature Zoom features
Unsurpassed image quality
- Same timeless look as Signature Primes
- Smooth and flattering flesh tones
- Elegant out-of-focus highlights
- No ramping – consistent exposure through all focal lengths
- Unchanging image quality across the zoom and iris ranges
- Minimal color aberration
Better shots, faster
- The high image quality means these zooms can be used in more situations, saving time
- Shaped and honed flares mean fewer delays
- Lightweight design means quicker setups
- Exceptional close-focus means reduced lens changes
- Designed for any format up to full frame and any camera
- Ideal for HDR, with superb color rendition and shadow detail
- 8K resolution for future requirements
- ARRI build quality for long product life
The widest, most consistent focal length range
- Consistency of look and quality across all four zooms
- Each lens has a fast T-stop of T2.8
- System covers 16 mm to 510 mm (with extender)
- Largest focal length range in the industry
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
A detailed look at each lens
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
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
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
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
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
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
Detachable Magnetic Rear Filter Holder
The detachable ARRI Magnetic Rear Filter Holder for Signature lenses opens up all kinds of customized looks, without having to disassemble the lens. No other manufacturer offers this degree of creative customization across a range of matched primes and zooms.
The filter holder accommodates a wide variety of materials, allowing filmmakers to experiment as much as they want. Glass elements can be used to simulate vintage lenses, or anything from fishing line to stockings and vintage fabrics can be tried—each of them affecting bokeh, flaring, and diffusion in different ways.
Discover how retro filmmaking techniques such as nets, and diopters can help you customize the look of your Signature lenses.
|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
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'
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 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.
News & Updates
Do Signature Zooms truly match Signature Primes?
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.
Are Signature Zooms consistent in exposure throughout the zoom range?
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.
Why aren’t ARRI Signature Zooms heavy?
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.
Are ARRI Zooms rehoused lenses from another lens manufacturer?
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.
Can Signature Zooms be adapted to work on PL mount cameras and film cameras?
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.
Are Signature Zooms made exclusively for large-format cinematography?
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.
How could the look of Signature Zooms be described?
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.”
Are Signature Zooms ready for HDR?
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.
Why does the extender work with only two lenses?
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.
Do Signature Zooms have the function of optical image rotation like the ARRI UWZ lenses?
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.
Will the lenses be delivered in aluminum cases, like signature primes?
Every Signature Zoom lens will have a dedicated aluminum case.
How can i change between metric and imperial scale?
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.
Is a zoom stick included?
Every Signature Zoom will be delivered with a zoom lever, which you can mount at different positions and angles.