Signature Lenses

Vision, variety, and passionate virtuosity – all are combined in the ARRI Signature Lenses Showreel 2023.
Every clip was shot with Signature Prime or Signature Zoom lenses in large format or Super 35, but the diversity is staggering – a kaleidoscope of different locations, production types, skin colors, lighting conditions, and visual styles. Collectively, the clips demonstrate the smooth...

Cinematographer Ben Davis BSC shared his creative processes on Martin McDonagh’s film “The Banshees of Inisherin”during a Q&A at the 2023 BSC Expo – a seminar sponsored by ARRI. The movie was captured with an ALEXA Mini LF and ARRI Signature Prime lenses supplied by ARRI Rental.
Learn more about ARRI Signature lenses at...

From extreme wides to extreme longs – ARRI Signature Primes are the best choice for a classic, beautiful look that’s matched across all focal lengths from 12 mm to 280 mm. Cinematographer Josua Stäbler recently limited his kit to the widest and longest lenses in the range for ARRI's "Taste of Freedom" showreel. Watch the final showreel here: https://youtu.be/qE1TKxzI5DI
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Indonesian Director Naya Anindita and Cinematographer Bella Panggabean were impressed with ARRI equipment and ARRI LUTs while filming the musical series “Payung Fantasi” inspired by Ismail Marzuki, which now has millions of views on YouTube.

You can watch the series at Indonesia Kaya’s YouTube channel.
Special thanks to DP Rahul Hemnani, Barracuda Film Gallery and Temata Productions for...

High-end fashion is a natural fit for ARRI Signature Zooms. Two-time Academy Award-nominee Djimon Hounsou lent his commanding presence and undeniable charm to this shoot for brand Dylan George, which was directed by Kwaku Alston and shot by DP Bartosz Nalazek, PSC, with color grading by Picture Shop. Produced in partnership with AbelCine.
ARRI Signature Zooms. Consistent Performance.

ARRI teamed up with AbelCine and Dylan George to explore the application of ARRI Signature Zooms in the world of high-end fashion production. Two-time Academy Award-nominee Djimon Hounsou lent his commanding presence and undeniable charm to the shoot, which was directed by Kwaku Alston and shot by DP Bartosz Nalazek, PSC, on ARRI’s ALEXA Mini LF, with color grading by Picture Shop.
ARRI...

Cinematographer Josua Stäbler limited his lens kit to the widest and longest Signature Primes for this new showreel, demonstrating how the 12, 15, 200, and 280 mm can bring exciting new perspectives to visual storytelling. Extreme focal lengths, but just as smooth, forgiving, and easy to work with as the rest of the Signature Prime range.
ARRI Signature Primes. Consistent Performance.

Cinematographer Daria D'Antonio talked to us about her work on director Paolo Sorrentino's film “The Hand of God.” After a strong performance at the Venice Film Festival, the film has received nominations for BAFTA, Golden Globe, and Academy Awards.

Daria D'Antonio – “I chose to use the large format in combination with ARRI Signature Primes because I wanted the background in the scenes to...

“Sometimes we work with extreme values of light, shadow, and contrast, which requires immediacy, speed, and the highest level of creativity. ARRI Signature Zooms have made it possible for my gaze to flow between these textures, providing a powerful visual brush and giving the image personality, beauty, and sensitivity.” Cinematographer Rafa Bolaños AEC on the ARRI Signature Zooms.
ARRI...

Art Adams, Cinema Lens Specialist for ARRI, Inc., tested some of our new zooms at the Jackson Wild Film Festival in Wyoming. Watch now for a guided tour of the Signature Zoom look.
ARRI Signature Zooms. Consistent Performance. Signature Look.
For more info on the ARRI Signature Zooms visit https://www.arri.com/signature-zoom-lenses

“For the image film for Lufthansa Cargo, an ARRI ALEXA Mini LF and two Signature Zooms were used: the 16-32 mm and 24-75 mm. Due to their amazingly low weight (3.5 kg and 4.1 kg), we were able to make all adjustments quickly and effectively with a gimbal and Segway or light crane. Time-consuming lens changes were unnecessary. The image quality of the ARRI Signature Zooms is outstanding...

After using our Signature Zooms for a shoot set against the backdrop of Rome’s ancient monuments, Cinematographer and TRINITY operator Stefano Paradiso AIC gave us his feedback: “The first thing I noticed about the ARRI Signature Zooms is their incredible closeness to the Signature Prime series that I'd already worked with. You can mix the zooms and the primes without any noticeable...

DP Klaus Naumann shooting with all four ARRI Signature Zooms at our company headquarters, ARRIAL, and in Munich’s famous Marienplatz subway station. He shared some thoughts on the experience with us: “For the Eltje Rick fashion shoot, two ARRI ALEXA Mini LFs and all four Signature Zooms were used: the 16-32 mm, 24-75 mm, 45-135 mm, and 65-300 mm. The addition of ARRI’s dedicated 1.7x...

Go behind the scenes of the new ARRI Chinese Signature Zoom Showreel, which was shot by cinematographer Wu Jiacheng. He describes his impressions of the Signature Zooms, saying he was “crazy about the distortion control of the 16-32 mm lens, and its close focus.”

ARRI Signature Zooms. Consistent Performance. Signature Look.

Here is the second clip from the new BMW i Vision Circular spot.
Cinematographer Oliver Maier chose ARRI Signature Primes and Signature Zooms for this concept car spot, which was shot at the IAA Show 2021. He used the 16-32 mm and 45-135 mm Signature Zooms, combined with the 15 mm and 200 mm Signature Primes. “I no longer agree with the preconception that primes are sharp and zooms are...

The new ARRI Signature Zooms were used for the spot clip for the new BMW i Vision vehicle. “Since the vehicle was only available for a short slot, the new lenses were definitely a gift. The Signature Zooms save time while offering the same timeless look as Signature Primes. They really enhance your production value.” – Director Christian Tyroller
ARRI Signature Zooms. Consistent Performance.

In the new Chinese Signature Zoom showreel, DP Wu Jiacheng wanted to test the whole set of four ARRI Signature Zooms. “The quality of the Signature Zoom lenses is very good,” he reports. “Every focal length offers perfect control of resolution and aberration. As a set of lenses, the selection of zoom ranges is well designed to match the needs of fast-paced shooting, especially on an ARRI...

Indian director and DP Setu (Satyajit Pande) shares insights about working with ARRI Signature Zooms on their new short film, “Across Windows.” The idea came from the title of John Scofield and Pat Metheny’s album, “I can see your house from here.” Set during a COVID lockdown, the film is about a young boy and girl who live across from each other in a conservative neighborhood.
“The ARRI...

Cinematographer Javier Salmones AEC talks to ARRI about his latest big project “El Cid” - the story of Rodrigo Díaz de Vivar, a Castilian nobleman and war hero in medieval Spain. Javier explains the advantages of large-format cinematography and shares his experience of shooting with ALEXA Mini LF and Signature Primes. Be inspired.

Morad and Evgeniya Abdel-Fattah had a few impressive test runs with the new ARRI Signature Prime range of lenses. Afterwards, leading Russian colorists Bozhedarka Maslennikova, Andrey Osadchiy, and Dmitry Stelma discussed the results and the characteristics of the lenses. Watch for yourself and be inspired.

DP Oliver Maier tried out ARRI’s new Signature Zooms 16-32 mm and 24-75 mm while shooting the project “125 Years Carl Orff,” which he created on behalf of the Carl Orff Foundation with editor Jochen Kraus and art director Holger Geisler. The lenses were used to capture Martina La Ragione’s choreography of “UnHeaven,” based on the schoolwork of Carl Orff.
The shooting concept was:
- Low...

ARRI Signature Zoom lenses have already convinced many cinematographers all over the world with their high-end performance. Japanese cinematographer Taro Kawazu took a chance to test the lenses and created this wonderful reel. He also shared his impressions: “I think the difficulty of matching prime lenses with zoom lenses is an eternal problem for us cinematographers, and the Signature Zoom...

“This lens is a great option to shoot quickly at different focal lengths with the Signature Prime look. The rendering at 16 mm is close to human perception; it's a perfect lens for POV sequences. There are absolutely no faults – the focus pulling is invisible, close focus is impressive, and you have straight lines with architecture, even at 16 mm. The weight is light, so you can easily use...

Go behind the scenes of the test shoot “A day in Budapest with the ARRI Signature Zoom 16-32 mm,” which was organized by ARRI Rental and shot by Hungarian cinematographer Laszlo Bille. He describes his impressions of the short Signature Zooms in comparison to longer zooms and prime lenses, and discusses the advantages of large-format wide-angle zooms, compared to Super 35 lenses. Be...

See for yourself the results of the first test shoot with the new ARRI Signature Zoom 16-32 mm, shot by Hungarian cinematographer Laszlo Bille, who was totally convinced by the optical performance: “This zoom lens is better than many prime lenses,” he says. “It literally has no breathing at all and behaves very, very nicely outside. We never had any harsh flares or bad effects from the...

ARRI Product Manager Thorsten Meywald talks about the new ARRI Signature Zooms, concentrating on the two shorter zooms: the 16-32 mm and 24-75mm. Lightweight, versatile, and delivering the timeless Signature look, they cover almost all shooting needs and are available now for tests and demonstrations.

To learn more about the ARRI Signature Zoom lenses, visit www.arri.com/signaturezooms

The new ARRI Signature Zooms are put through an action sequence test shoot involving high contrast, low light, and flaring.

“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.” – Rathnavelu ISC
Watch the clip and see the lenses in action.
Captured...

Cinematographer David Lanzenberg creatively harnessed the ALEXA Mini LF, ARRI Signature Primes, and Orbiter lights to create captivating visuals in Netflix's hit series “Wednesday.”

DP Christopher Probst ASC showcases the capabilities of the Orbiter, ARRI’s advanced LED light for image capture and color fidelity, in a short film titled “An Ace up the Sleeve.”

ALEXA Mini LF with Signature Primes, TRINITY stabilizer, and ARRI lights: Cinematographer Emanuele Zarlenga has made extensive use of ARRI tools in his latest commercials.

ARRI technology helped DP Álex de Pablo define the two parts of “The Beasts,” winner of Best Film and Best Cinematography at the 2023 Goya Awards.

Cinematographer K.K. Senthil Kumar ISC reports on his visual choices and challenges on the blockbuster Telugu-language action drama movie “RRR,” directed by S.S. Rajamouli.

The 2023 Oscar winners in Best Picture, Best Cinematography, Best International Feature, and other categories put their trust in ARRI technology.

DP Batara Goempar ICS shoots action-packed scenes and heart-pounding stunts with the lightweight and visually gripping ARRI large-format system.

The inspiring short film “Grace” was accomplished by DP Dennis Zanatta in harsh environments in the New Mexico desert with ALEXA 35, Signature Prime lenses, and ARRI Orbiter.

Key grip Gary Hymns tells ARRI how he, cinematographer Sir Roger Deakins CBE, ASC, BSC, and the camera and grip crew worked with MAXIMA on Sam Mendes’ new film “Empire of Light.”

Cinematographer Arvind Kashyap speaks to ARRI about working in large format on the challenging location shoot of director Rishab Shetty’s action thriller “Kantara.”

Indonesian DP Batara Goempar ICS shares how he brought out the subtle emotions and calibrated nuances behind “Before, Now & Then” through immersive images captured with the ALEXA LF and Signature Primes.

Shooting a French miniseries about the Notre-Dame de Paris fire, cinematographer Jean-Max Bernard used ARRI Signature Primes, the ALEXA Mini LF, and SkyPanel lights to enhance the firefighters’ epic.

At this year’s EnergaCamerimage, ARRI showcased tools and sponsored various educational and social offerings. ARRI cameras and lenses were also behind the top award-winning films, including the Gold, Silver, and Bronze Frog.

Shot with the ALEXA Mini LF, Signature Primes, and ARRI lights, Netflix’s feature film “Robbing Mussolini” is structured into four aesthetic worlds. ARRI talked to DP Gian Filippo Corticelli about his experiences on set in Italy and colorist Andrea Baracca about the finishing touches of the film. 

Using ARRI Signature Prime lenses along with ARRI SkyPanel, Orbiter, and ARRIMAX lights, cinematographer Italo Petriccione captured “The Return of Casanova,” a story with changing time periods and color designs. 

César-winning duo of filmmakers pairs up with ARRI cameras and lights to bring the chilling atmosphere of “La Tour” to life.

From fashion commercials to series teasers, cinematographer Michele Brandstetter de Bellesini chooses to work with ARRI ALEXA Mini LF, ALEXA Mini, Signature Primes, TRINITY, and SkyPanel.

For ARRI’s contributions to the industry, the company received the Philo T. Farnsworth Corporate Achievement Award at the 74th Engineering, Science & Technology Emmy® Awards.

Cinematographer João Pedro Plácido aip talks to ARRI about choosing a Signature look for director Jeanne Waltz’s “The Wind Whistling in the Cranes.”

In our second interview about shooting commercials for global brands, DP Mélodie Preel describes advertising as a great laboratory with high aesthetic stakes—and how ARRI tools help her to reach them.

At the 75th Festival de Cannes, the vast majority of participating films were equipped with ARRI technology, including Palme d’Or winner “Triangle of Sadness.” ARRI also enjoyed providing world-class equipment and hosting inspiring events at the Croisette.

DP Thomas Hardmeier and gaffer Laurent Héritier talk about their experience with the ALEXA LF, ALEXA Mini LF, ARRI Signature Primes, and SkyPanels on Jean-Pierre Jeunet’s “Bigbug” for Netflix.

The 94th Academy Awards recognized many outstanding films. Oscar® winners including “Dune,” “CODA,” “The Power of the Dog,” and “Drive My Car” were captured using ARRI technology. 

DP Aiden Ulrich chooses ARRI ALEXA Mini LF’s, Signature Primes, and WCU‑4s to capture the Khaite SS2022 runway show at New York Fashion Week.

Offering guests a mixture of virtual and live events in Toruń, Poland, EnergaCAMERIMAGE will certainly be a highlight of 2021. Below are the full details of the publicly accessible ARRI events and activities at the festival this year.

Brazilian DP Julio Costantini discusses the approach and technology utilized on his latest film “Confessions of an Invisible Girl.” The Netflix Original was shot on ARRI ALEXA Mini LF and ARRI Signature Primes in ARRIRAW and lit by ARRI SkyPanels.

Shot with the ARRI ALEXA Mini camera, lensed with ARRI Signature Primes, and lit with ARRI’s M-Series and SkyPanels, DP Vladan Radovic vividly recreates the lights and colors of Rome in the 8th century BC for “Romulus.”

At the Festival de Cannes 2021, the vast majority of winning and participating productions relied on ARRI equipment. At and surrounding the event, ARRI played a behind the scenes role and also sponsored several prizes.

Australian DP Alexander Leeway crafts unique ARRI Signature Prime looks by using the lenses’ magnetic rear filter holder on his music video shoot for Phondupe’s "Silo".

Despite inclement weather conditions and a variety of indoor and outdoor settings, DP Julien Hirsch was able to “discover the flexibility and simplicity of the ALEXA Mini LF” on one of his latest projects.

Director Blake Farber and director of photography Corrado Serri AIC share their experience shooting with the Mini LF and Signature Prime lenses for Pepsi's 'Discover' commercial.

Now streaming on Netflix, Jangle’s colorful, magical world was brought to life by DP Remi Adefarasin on ARRI ALEXA LF cameras and Signature Prime lenses.

“How to Be a Good Wife,” a hit this summer in French cinemas, along with soon to be released “My Cousin”and“Waiting for Bojangels” were all captured with ALEXA LF and ARRI Signature Prime lenses.Cinematographer Guillaume Schiffman AFC explains his choice of tools which also included ARRI SkyPanel and ALEXA Mini LF. 

Aided by the versatile camera combo of the ALEXA Mini LF and ARRI Signature Prime lenses, cinematographer Michael Dwyer melds documentary and cinema in Justin Bieber’s new video “Intentions”

ARRI is releasing Signature Prime Software Update Package 2.1, including Lens Firmware LMC V2.1, Lens Bootloader V1.5 and Sensor Firmware V2.06.

ARRI, Sky Studios, Dimension, DNEG, and Creative Technology partner to champion new skills, innovation, and insights. Double Oscar-winner Paul Franklin (“Interstellar,” “Inception”) directs the Virtual Production Innovation Project.

Working with international ballet dancers, a new concept car, and state-of-the-art LED walls, cinematographer Oliver Maier puts three of the new ARRI Signature Zooms through their paces.

Offering guests a mixture of virtual and live events in Toruń, Poland, EnergaCAMERIMAGE will certainly be a highlight of 2021. Below are the full details of the publicly accessible ARRI events and activities at the festival this year.

Matthew Allard ACS has been able to get early access to prototype versions of Signature Zoom lenses for a couple of days and used the chance to put them through their paces: "The biggest compliment I can give them is that I felt like I was using primes. I have used quite a large array of cine zooms over the years and the Signature Zooms are the first zooms I have used that don’t feel like zooms." Follow the link to read the review and see test footage.

Go behind the scenes with wildlife filmmakers Implement Productions to get a first-hand look at how the Signature Zooms handle the extreme temperatures of Yellowstone National Park - even when used on another camera system. Implement Production's Phillip Baribeau discusses his experience using the 45-135, 65-300, and the 1.7x extender and how the ARRI Signature Zooms helped him see into the shadows.

ARRI introduces four Signature Zoom lenses: 16-32 mm T2.8, 24-75 mm T2.8, 45-135 mm T2.8, and 65-300 mm T2.8 (110.5-510 mm T4.95 with dedicated 1.7x extender). They cover Large Format / Full Frame and have LPL mounts. So, now there is an ARRI Signature lens system consisting of four Signature Zooms and sixteen Signature Primes.