Master Macro 100

Master Macro 100

For those who want the ultimate in image quality for table top cinematography, product shots, close-up inserts on feature films or any other applications that require a macro lens, the ARRI Master Macro 100 delivers images of breathtaking beauty. 

Designed for the ANSI Super 35 image format, the ARRI Master Macro 100 can be used on any PL mount 35 mm film and single sensor digital camera. 

With a 1:1 magnification ratio, a maximum aperture of T2.0 and an optical design developed specifically for macro work, the ARRI Master Macro delivers phenomenally sharp and contrasty images with vibrant colors for extreme close-ups of the highest visual quality.  


Dedicated to Motion Picture Macro Work

  • 100 mm macro lens with 1:1 magnification ratio
  • novel optical design optimized for close-up work
  • specifically created for cine applications
  • Wide T-stop range: T2.0 (infinity)/T4.3 (close focus) to T32

ARRI Master Prime Optical Quality

  • based on Master Prime technology
  • high resolution, high contrast
  • dramatically reduced flare
  • brilliant, vibrant colors
  • low geometric distortion
  • minimized chromatic aberration
  • Super Color Matched to ARRI Master Primes, ARRI Ultra Primes, ARRI LDS Ultra Prime, ARRI Ultra 16 and Alura Zoom lenses

ARRI Master Prime Ergonomics

  • long focal length allows greater distance to subject
  • expanded focus scale (1.4x revolutions) for greater accuracy
  • individually calibrated focus scale
  • simple and robust construction (no mechanical exposure compensation)
  • focus and iris scales in standard Master Prime positions

Lens Data System

  • LDS for display of T-stop compensation on WCU-4
  • optional electronic exposure compensation with lens motors


The versatile 100 mm Master Macro is the only must-have lens on every job I shoot.

Cinematographer Viv Scanu (Film credits include: Out of the Shadows, Balentes and many more)

The Master Macro 100 is the only Macro lens you can use like a regular lens, without compromises.

Cinematographer Stefan von Borbely (known for Commercials for global brands, such as Lexus, Bosch, Nikon, LG and many more)

Technical Data


Master Macro 100/T2.0

Type (1)

Makro-Planar T* XP

Lens Mout (2)


Aperture (3)

T2.0/T4.3 to T32

Close focus (4)

0.35 m / 13 3/4"

Magnification ratio (5)


Length (6)

202,7 mm / 8"

Horizontal angle of view ANSI Super 35 (8)

ID = 31.14 mm (11)


Horizontal angle of view DIN Super 35 (9)

ID = 30.00 mm (11)


Horizontal angle of view Normal 35 (10)

ID = 27.20 mm (11)


Entrance pupil (12)

77.1 mm / 3"

Maximum Housing Diameter


Front diameter (7)

114 mm / 4.5"


2.6 kg / 5.7 lbs

Item number meter


Item number feet


(1) T* XP is the trademark of the ZEISS anti-reflection lens coating that significantly reduces veiling glare and other internal reflections. XP stands for extended performance.

(2) Positive locking 54 mm stainless steel lens mount with Lens Data System (LDS) contacts

(3) Maximum aperture at infinity is T2.0, at close focus T4.3

(4) Close focus is measured from the film/sensor plane

(5) Magnification ratio is the relationship of the size of an object on film (first number) to the size of that object in real life (second number)

(6) Lens length is measured from the lens mount to the front of the lens housing

(7) Diameter of the lens/matte box interface. Maximum lens housing diameter for the Master Macro 100 is 138 mm.

(8) Horizontal angle of view for an ANSI Super 35 Silent camera aperture (aspect ratio 1.33:1, dimensions 24.9mm x 18.7mm / 0.980" x 0.7362")  

(9) Horizontal angle of view for a DIN Super 35 Silent camera aperture (aspect ratio 1.33:1, dimensions 24mm x 18mm / 0.944" x 0.7087")

(10) Horizontal angle of view for a Normal 35 Academy camera aperture (aspect ratio 1.37:1, dimensions 22mm x 16mm / 0.8661" x 0.6299")

(11) The image diameter (ID) is the diameter of the image circle needed for the respective format. The Master Macro 100 is designed for the largest ID given here (ANSI Super 35).

(12) The distance from the entrance pupil to the film/sensor plane. Positive numbers indicated an entrance pupil in front, negative numbers indicated an entrance pupil behind the film/sensor plane. The entrance pupil (often mistakenly called "nodal point") is the center of perspective; moving the camera/lens system around the center of the entrance pupil prevents parallax errors. While largerly irrelevant for live action, this measurement is important for special effects work.


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