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ARRI Signature Zoom

Consistent Performance. Signature Look.

ARRI Signature Zoom Lenses Group Image.
Unrivalled cine zoom system

Accompanying and matching ARRI Signature Primes, the four new Signature Zoom lenses render the most natural and beautiful images ever seen from a cine zoom. Designed for any large-format or Super 35 camera, they are uniformly fast at T2.8 and offer an unrivalled focal length range.

ARRI Signature Zoom 45-135 T2.8 example footage.
Beautiful image – closer to a high-end prime than ever before

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
ARRI Signature Zoom Lenses example footage.

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
ARRI Signature Zoom Lenses better and faster shots.

Future-proof investment

  • 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
ARRI Signature Zoom Lenses as future proof investment.

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
ARRI Signature Zoom Lenses 65 - 300 mm detail shot.

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 Zoom 65 - 300 mm T2.8 example footage.

A detailed look at each lens

Signature Zoom 16-32 mm

  • Wide field of view with minimal distortion
  • Highly sophisticated optical design
  • Exceptional sharpness
  • Length: 21.2 cm / 8.3”
  • T-stop: T2.8
  • Front diameter: 156 mm
  • Weight: 3.5 kg / 7 lbs.
  • Close focus: 19.4 cm / 7.6” (MOD from lens front)

Signature Zoom 24-75 mm

  • An all-rounder lens covering most shooting needs
  • Lightweight and versatile
  • Length: 24.4 cm / 9.6”
  • T-stop: T2.8
  • Front diameter: 114 mm (same as Signature Primes)
  • Weight: 4.1 kg / 9.0 lbs. (tbc)
  • Close focus: 41 cm / 16.2" (MOD from lens front)

Signature Zoom 45-135 mm

  • Compact, lightweight and well-balanced for handheld and stabilizer systems
  • Length: 30 cm / 11.8”
  • T-stop: T2.8
  • Front diameter: 114 mm (same as Signature Primes)
  • Weight: 3.64 kg / 8 lbs.
  • Close focus: 65.6 cm / 25.8" (MOD from lens front)

Signature Zoom 65-300 mm

  • Stunning bokeh that matches the Signature Primes
  • No ramping, all the way to 300 mm
  • Comes with an integrated handle
  • Length: 42 cm / 16.5”
  • T-stop: T2.8
  • Front diameter: 156 mm
  • Weight: 8.1 kg / 19.9 lbs.
  • Close focus: 133 cm / 52.5” (MOD from lens front)

Signature Zoom Extender 1.7x

  • Significantly extends the reach of the Signature lens family
  • Turns the 65-300/T2.8 into a 110-510/T4.9
  • Also works with the 280 mm Signature Prime, making it a 480/T4.9
  • High-performance optics and coatings
  • Specifically designed to maintain the timeless Signature look


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 

Cinematographer Oliver Maier about the ARRI Signature Zoom cine 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

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

Cinematographer Luo Pan about the ARRI Signature Zoom cine lens.

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

Cinematographer Logan Schneider about the ARRI Signature Zoom cine lens.

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

Cinematographer Jimmy Matlosz about the ARRI Signature Zoom cine lens.

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

Cinematographer Da Mi about the ARRI Signature Zoom cine lens.

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

Cinematographer Can Yu about the ARRI Signature Zoom cine lens.

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 

ARRI Signature Primes & Zooms Series Group Image.
Signature lens family

Significant extension of the Signature lens family, with the same timeless look as Signature Primes.

ARRI Signature lenses cover a focal length range of 12 mm to 510 mm, which is the largest in the industry. 

Video Room

Technical data

NameARRI Signature Zoom 16-32/T2.8ARRI Signature Zoom 24-75/T2.8ARRI Signature Zoom 45-135/T2.8ARRI Signature Zoom 65-300/T2.8ARRI Signature Zoom 65-300/T2.8
+ 1.7x Extender

Lens mount







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'

Show more
ARRI Signature cine zoom lens Focus fall-off Example.
Smooth focus fall-off

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.

LPL Mounts for ARRI and 3rd Party Cameras

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

LPL adapters for third-party lens mounts*

  • E-Mount is commonly found on Sony mirrorless cameras and video cameras such as the PXW-FS7 & PXW-FX9. For Sony Venice, please see section above.

  • G-Mount is commonly found on Fujifilm GFX mirrorless cameras.

  • L-Mount is commonly found on Leica, Panasonic and Sigma mirrorless cameras.

  • RF-Mount is commonly found on Canon mirrorless cameras and video cameras such as the EOS C70.

  • Z-Mount is commonly found on Nikon mirrorless cameras.

  • XCD-Mount is commonly found on Hasselblad X-Series mirrorless cameras.

  • KineMount is found on the Kinefinity MAVO and TERRA cameras.

*ARRI assumes no responsibility with regard to an inaccuracies of given information. Lists of products are subject to change without notice.

News & Updates


  • 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.

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