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ARRI large-format cinema camera ARRI Signature Prime lenses

The new large-format camera system

ARRI introduces a complete large-format system that meets and exceeds modern production requirements, delivering unprecedented creative freedom. Based on a large-format 4K version of the ALEXA sensor, the system comprises the ALEXA LF camera, ARRI Signature Prime lenses, LPL lens mount and PL-to-LPL adapter. These system elements have been designed to take full advantage of the enlarged sensor, while also offering compatibility with existing lenses, accessories and workflows.

    “The ALEXA LF camera and Signature Prime lenses are an elegant combination. I love the lenses; they strike a wonderful balance between modernity and character.” Cinematographer Matias Boucard
    Photo © Thanaporn Arkamanon
    “We were trying to tell a story about wideness and freedom; the ALEXA LF worked really well. The depth of field is so small, creating its own world. It’s fantastic. With the 25 mm lens, you feel like you are there in the scene with the actors. The lenses are lightweight and are not too sharp, but with a certain softness and very specific.” Cinematographer Dan Laustsen ASC, DFF
    Photo © Chase Hagen
    “I intentionally shot mundane subjects I wouldn’t normally cover, and the results got me really excited. The camera and lens captured every tonal nuance with unmatched detail, gradation and color. I love how the out-of-focus areas are rendered, contributing to a rich and vivid overall look.” Cinematographer Wang Yu
    Photo © Zihao Chen
    “To me, the system embodies typical ARRI quality, but there is a new level of emotion to the images—a smoothness to the way the camera and lenses work together.” Cinematographer Tom Fährmann BVK
    Photo © Henning Rädlein

    Pulling audiences into the image

    Much like ALEXA 65, ALEXA LF images are truly immersive, heightening emotion and intensifying character with an intimate, three-dimensional feel that draws the viewer in further.

    ALEXA large format 35mm 47mm 75mm

    Soulful connections

    DP Matias Boucard

    _____
     
    Shooting wide open with ARRI Signature Prime lenses for shallow focus and gorgeous bokeh, cinematographer Matias Boucard works purely with natural light and available sources. Capturing human friendships on location in Thailand, this clip beautifully showcases the detail, dynamic range and sensitivity of ALEXA LF.
     
    ALEXA LF with 35, 47 and 75 mm ARRI Signature Prime lenses

    ALEXA large format 125mm Signature Prime

    Face to face

    DP Tom Fährmann BVK

    _____
     
    In contrast with other ALEXA LF showreels exploring low light and shadow, cinematographer Tom Fährmann BVK shot a diverse palette of faces and skin tones against a white background. Varying portrait lighting illustrates the humanity, color and exceptional clarity of the ALEXA LF/ARRI Signature Prime combination.
     
    ALEXA LF with 125 mm ARRI Signature Prime lens

    ALEXA lf Signature Prime Lenses

    The artistic spirit

    DP Wang Yu

    _____
     
    Cinematographer Wang Yu navigates the atmospheric studio and creative inspirations of the celebrated Chinese artist and furniture-maker, Shao Fan. Moving lights, ghostly shadow effects, angular and curved forms, architecture and perspective, raw materials and tools—all reveal the distinctive texture of ALEXA LF images.
     
    ALEXA LF with 25, 47, 75 and 125 mm ARRI Signature Prime lenses

    ARRI Signature Prime lenses

    Freedom and immersion

    DP Dan Laustsen ASC, DFF

    _____
     
    In the Californian desert, cinematographer Dan Laustsen ASC, DFF accompanies two climbers for a day on the rock. Embracing available light conditions ranging from strong daylight to flickering firelight at night, Laustsen reveals the stunning skin tones, gentle fall-off and immersive look of the ALEXA LF camera and ARRI Signature Prime lenses.

    ARRI large-format system

    An excursion on architecture

    DP Tom Fährmann BVK

    _____
     
    Tom Fährmann BVK uses ALEXA LF and ARRI Signature Prime lenses to document the creative preoccupations of an architect, which bear striking similarities to those of a cinematographer: light, texture, detail, and the expression of emotions through practical skill. All of them are captured perfectly by the ARRI large-format system.

    Large-format aesthetic with ALEXA image quality

    ARRI ALEXA LF

    Featuring a sensor slightly larger than full frame, ALEXA LF records native 4K with ARRI’s best overall image quality. This allows filmmakers to explore an immersive large-format aesthetic while retaining the sensor’s natural colorimetry, pleasing skin tones and stunning capability for HDR and WCG workflows. Versatile recording formats, including efficient ProRes and uncompressed, unencrypted ARRIRAW up to 150 fps, encompass all on-set workflow requirements.

    Three sensor modes
    for limitless applications

    ALEXA LF has the largest sensor of any full-frame cinema camera on the market. Maintaining the ALEXA family’s optimal pixel size for highest overall image quality results in a 4448 x 3096 picture, which can be recorded in full using the LF Open Gate mode. An LF 16:9 mode maximizes lens options while meeting 4K deliverable standards, and an LF 2.39:1 mode combines a cinematic widescreen image with high frame rates up to 150 fps for sensuous slow motion. All sensor modes offer true 800 ASA sensitivity as well as reduced noise, providing the perfect canvas for modern, subtle lighting techniques.

    large format open gate
    ARRIRAW90 fps
    ProRes 42260 fps
    ProRes 422 HQ60 fps
    ProRes 444460 fps
    ProRes 4444 XQ40 fps
    large format 16:9
    ARRIRAW90 fps
    ProRes 42260 fps
    ProRes 422 HQ60 fps
    ProRes 444460 fps
    ProRes 4444 XQ60 fps
    large format 2.39:1
    ARRIRAW150 fps
    ProRes 422100 fps
    ProRes 422 HQ100 fps
    ProRes 4444100 fps
    ProRes 4444 XQ60 fps

    Maximum frame rates with SXR Capture Drives / Top speed 150 fps

    A larger mount for a larger format

    LPL lens mount for large-format sensors

    A crucial element of this new system is the LPL lens mount, optimized for large-format sensors. A wider diameter and shorter flange focal depth allows the ARRI Signature Prime lenses and all future large-format optics to be small and lightweight, with a fast T-stop and pleasing bokeh—a combination of features that would not be possible within the confines of the PL lens mount. The LPL mount will also be available for other ARRI cameras such as the ALEXA Mini, and is being licensed to third-party lens and camera manufacturers.

    Organic images filled with life and emotion

    16 large-format ARRI Signature Prime lenses

    Accompanying the ALEXA LF camera are 16 large-format ARRI Signature Prime lenses, ranging from 12 mm to 280 mm and fitted with the ARRI LPL mount. While the Signature Primes exemplify state-of-the-art optical precision, they have been designed to render organic, emotionally engaging images, gently softening and texturizing the large format with natural skin tones and creamy bokeh. A fast T-stop of T1.8 facilitates shallow depth of field and the smooth focus fall-off gives subjects heightened presence in the frame.
     
    The ARRI Signature Prime range is the first cine lens series to feature machined magnesium lens barrels, making the optics incredibly lightweight and robust. They are also the first to incorporate ARRI’s next-generation LDS-2 Lens Data System, with high data rates and absolute encoders for fast initializing. LDS-2 extends the possibilities of lens data and is being licensed to other lens and camera manufacturers.

    Total lens and accessory compatibility

    Compatibility with existing PL mount lenses Compatibility with existing PL mount lenses

    Although the camera, lens mount and lenses are new, full compatibility with existing PL mount lenses and ALEXA accessories is a cornerstone of the system's design. A PL-to-LPL adapter offers backwards compatibility with all PL mount lenses, be they Super 35 or full frame. The adapter attaches securely to the LPL lens mount without tools, allowing crews to rapidly switch between PL and LPL lenses on set. Cinematographers are therefore offered an unlimited lens choice, with complete lens metadata accessible from LDS-2, LDS-1 or /i lenses.

    LPL-to-PL adapter offers backwards compatibility LPL-to-PL adapter offers backwards compatibility

    For even further cross-system compatibility, an LPL lens mount can be fitted to existing ALEXA, ALEXA Mini and AMIRA cameras. ARRI Signature Primes and other future LPL mount lenses can therefore be used for both Super 35 and large format on productions combining the two.

    Cross-system compatibility of LPL mount for ARRI cameras Cross-system compatibility of LPL mount for ARRI cameras

    ALEXA LF is based on the proven, robust ALEXA camera design, so all existing accessories will work right out of the box. Since all other features and the user interface are the same as in the ALEXA SXT W—including the integrated wireless video transmitter and the user interface—crews will adapt quickly.

    Simple ARRI workflows

    ALEXA LF offers the same tried-and-true, versatile workflows as other ALEXA cameras. Recording at various resolutions is possible in uncompressed, unencrypted ARRIRAW or fast, efficient ProRes. Existing ARRI Look Files can be used with ALEXA LF, and the entire range of ARRI workflow software tools will support ALEXA large-format images. Lens metadata can be recorded from LDS-1, LDS-2 or /i capable lenses.

    Simple ARRI workflows with ARRIRAW, Look Files and other tools. Simple ARRI workflows with ARRIRAW, Look Files and other tools.

    ARRI large-format camera system Frequently Asked Questions

    If you have a question not listed here, please ask in the ARRI Forum.
    Version: January 26, 2018.

    ALEXA LF Camera FAQs
    • Q: What recording resolutions are available with the ALEXA LF?

      A: In LF Open Gate sensor mode, the entire sensor at 4448 x 3096 can be recorded (native 4.5K). In LF 16:9 sensor mode there are three options: first, the native 3840 x 2160 (UHD) can be recorded. Second, the camera can downscale 3840 x 2160 to ProRes 16:9 2K (2048 x 1152). Third, the camera can downscale 3840 x 2160 to ProRes 16:9 HD (1920 x 1080). Those downscale options are there if you want to reduce the data rate and have no need for the higher resolutions. In LF 2.39:1 sensor mode, the sensor area of 4448 x 1856 can be recorded (native 4.5K).

    • Q: Is this camera Netflix compatible?

      A: Since the camera has a resolution of more than 4K, it should be Netflix compatible.

    • Q: What are the frame rates of the ALEXA LF with SxS cards?

      A: Maximum frame rates with SxS PRO+ cards
      - Top speed 90 fps ProRes

    • Q: Can I make my own framelines for the ALEXA LF?

      A: Yes. In addition to the default framelines built into the camera, there is also the online ARRI Frameline Composer which allows the creation of any frameline your heart desires.

    • Q: Can I record MXF/ARRIRAW with the ALEXA LF?

      A: No. At this point in time the ALEXA LF records the traditional ARRIRAW (.ari), which is the same format recorded by the ALEXA Classic, ALEXA XT and ALEXA SXT family of cameras.

    • Q: Why do you not support XR Capture Drives, CFast 2.0 cards or the smaller capacity SxS PRO cards anymore?

      A: This is because the slower and smaller capacity media don’t make sense with the higher data rate of ALEXA LF, and because we wanted to reduce complexity and testing time.

    • Q: Is the ARRI Look Library included in the ALEXA LF?

      A: Not yet. The Look Library will be part of a future software update for the ALEXA LF.

    • Q: Can I magnify the monitor image?

      A: Not yet. A zoom and magnify feature very similar to that of the ALEXA 65 will be part of the first software update for the ALEXA LF.

    • Q: What is the size of the ALEXA LF?

      A: The ALEXA LF is significantly smaller than the ALEXA 65, and only 12 mm longer and wider than the ALEXA SXT W.

    • Q: What are those three screws in the front of the camera?

      A: The screws have no relevance for the user. They allow us to adjust the sensor planeness (being perfectly parallel with the lens mount surface) in manufacturing. While these three screws are not the actual adjustments but rather capping screws, there are no user-serviceable parts inside.

    • Q: Will there be an ALEXA LF Mini?

      A: We are looking into the feasibility of this but we do not know yet; in any case, it would be difficult because of the high data rates.

    Lens Mounts FAQs
    • Q: Why do we need a new lens mount?

      A: A larger sensor needs a larger lens mount for optimal lens design. The LPL lens mount allows the design of full-frame lenses that are smaller, lighter and have a faster T-stop than equivalent lenses designed for the smaller PL lens mount. The traditional PL mount would compromise modern full-frame lens design; its diameter was based on the Super 35 sensor size and its long flange focal depth was dictated by the fact that film cameras had a mirror shutter.

    • Q: Why is the LPL lens mount flange focal depth not even shorter than 44 mm?

      A: Because we wanted it to be compatible with existing ALEXA cameras.

    • Q: Can the LPL lens mount be used on other ARRI cameras?

      A: Yes, there currently are two versions of the LPL lens mount. The "LPL Lens Mount for ALEXA" can be used on ALEXA Classic, XT, SXT and LF cameras. The "LPL Lens Mount for ALEXA Mini" can be used on ALEXA Mini and AMIRA. However, the LBUS connector on this mount will not work on an AMIRA.

    • Q: Can the LPL lens mount be used on other manufacturers’ cameras?

      A: We are licensing the LPL mount to other camera manufacturers if they wish.

    • Q: Can the LPL lens mount be used on other manufacturers’ lenses?

      A: We are licensing the LPL mount to other lens manufacturers if they wish.

    • Q: Can I attach the existing 54 mm PL lens mount to the ALEXA LF?

      A: Yes, the existing PL lens mount fits on the ALEXA LF as well. However, in tests we have found that a combination of LPL lens mount and PL-to-LPL adapter lets more light through in the corners than the PL lens mount, so we recommend always using the LPL lens mount with PL-to-LPL adapter.

    • Q: Why is there only one set of LDS contacts on the LPL lens mount?

      A: LPL lenses will only have LDS contacts at the 12 o’clock position and accept LDS-2 and /i signals. The PL-to-LPL adapter can be mounted in two ways on the LPL lens mount: in the 12 o’clock and in the 3 o’clock position. In both mounting positions, the PL-to-LPL adapter supports LDS-1 and /i.

    Lens Compatibility FAQs
    • Q: Can I use anamorphic lenses on the ALEXA LF?

      A: Yes, the use of anamorphic lenses for Super 35 or for full frame is easy. ALEXA LF can de-squeeze images from all current anamorphic squeeze ratios (1.25x, 1.3x, 1.5x and 2x) on the viewfinder and monitor outputs. For full-frame anamorphic lenses, use the LF Open Gate sensor mode (left image). For Super 35 anamorphic lenses, use the LF 16:9 sensor mode, which has exactly the same height as the 6:5 anamorphic sensor mode on Super 35 ALEXAs, and crop the sides in post (right image).

      •  
    • Q: Can I use PL mount lenses on the ALEXA LF?

      A: Yes, a PL-to-LPL adapter fits securely into the LPL mount and allows the use of all Super 35 or full-frame PL mount lenses. This adapter ships with each camera and allows fast switching between PL and LPL mount lenses on set.

    • Q: How can I use Super 35 lenses on the ALEXA LF?

      A: There are many methods for using Super 35 lenses with the ALEXA LF. Here are three of the most common ones:

      1. Using an image expander

        •  
        •  

        You can use a third-party image expander that will optically magnify the image to cover the full sensor in LF Open Gate sensor mode. This works with spherical as well as anamorphic Super 35 lenses. However, you should be aware of a number of issues:

        • For most expanders, the lens needs to be closed to T2.1 or an even smaller aperture.
        • Depending on the expander's magnification ratio, it will lose one or more stops of light.
        • It is possible that some image quality might be lost.
        • This will not work with all lenses, based on the size of the expander and on how far the lens protrudes into the lens mount.
      2. Cropping the Super 35 area in post

        •  

        Using the LPL lens mount and the PL-to-LPL adapter, it is possible to shoot with a Super 35 lens and crop the image in post. This works great for anamorphic and spherical lenses. For anamorphic lenses, the LF 16:9 sensor mode happens to be exactly the same height as the ALEXA Super 35 6:5 sensor mode, which is used for anamorphic lenses (see left image). ALEXA LF 16:9 sensor mode captures 3840 x 2160, and ALEXA S35 6:5 is 2578 x 2160. When working with spherical lenses, you can use the LF 2.39:1 sensor mode, which runs up to 150 fps (right image). Both ALEXA Super 35 3.2K and ALEXA Super 35 2.8K fit within the image area recorded in this sensor mode. While most ARRI Super 35 lenses have an image circle that covers 3.2K, the image circle of some third-party Super 35 lenses does not cover 3.2K, but all Super 35 lenses cover 2.8K.

      3. Using the illumination circle of Ultra Primes and Master Primes

        Lenses have an image circle within which the manufacturer guarantees the optical quality and an illumination circle where there’s still light, but of undefined quality. Both circles of most ARRI lenses are very large, since we wanted to make sure that if a customer shot Super 35 on a film camera, but had forgotten to switch the lens mount from N35 to S35, they would still get an image. Because of that our lenses have a bigger image circle and a bigger illumination circle than most other Super 35 lenses.

        In tests, we found that the illumination circle of the Master Prime 35 and longer focal lengths covers the LF 16:9 sensor mode (UHD - 3840 x 2160). Therefore, a production can be shot mostly with Master Primes and use maybe one or two Signature Primes for the wide-angle shots. Note that a MP 35/LF 16:9 has the same horizontal angle of view as MP 26/S35 2.8K (1.33x conversion factor). The same should also be true for Ultra Primes. In fact, a German Netflix TV series called DARK was shot recently with ALEXA 65 and Ultra Prime lenses.

    • Q: Can I use Leica M lenses on ALEXA LF?

      A: Not at the moment. We would have to build a special Leica M lens mount, which we will do if there is enough demand.

    • Q: What about other third-party full-frame photo lenses?

      A: It might be possible, but we would need to evaluate this.

    ALEXA LF technical details

    Camera Type

    Large Format (LF) digital camera with electronic viewfinder EVF-1 and built-in radios for ARRI Wireless Remote System, ARRI Wireless Video System and WiFi

    Compatibility

    All current ARRI ALEXA accessories,

    LPL lenses and PL lenses with PL-to-LPL adapter

    Sensor Mode

    LF Open Gate

    36.70 x 25.54 mm

    4448 x 3096, ø 44.71 mm

    ARRIRAW: 0.75 - 90 fps,

    ProRes: 0.75 – up to 60 fps

    Sensor Mode

    LF 16:9

    31.68 x 17.82 mm

    3840 x 2160, ø 36.35 mm

    ARRIRAW: 0.75 - 90 fps,

    ProRes: 0.75 – 60 fps

    Sensor Mode

    LF 2.39:1

    36.70 x 15.31 mm

    4448 x 1856, ø 39.76 mm

    ARRIRAW: 0.75 - 150 fps,

    ProRes: 0.75 – up to 100 fps

    Shutter

    Electronic rolling shutter, 5.0º - 358.0º

    Internal ND Filter

    One of 8 available Large Format Full Spectrum Neutral Density (LF FSND) filters can be inserted manually in front of the sensor (ND 0.3 to ND 2.4)

    Exposure

    Latitude

    14+ stops

    Exposure Index

    EI 800

    Sound Level

    Sound level ≤ 20 db(A) while recording LF Open Gate ProRes 4.5 K 4444 @ 30 fps and ≤ +30° Celsius (≤ +86° Fahrenheit), measured 1 m/3 feet in front of the lens

    Power In

    11.5 to 34 V DC

    Power Out

    4x RS (24 V), 1x 12V (12 V), 1x EXT (24 V), 1x ETH (24 V)

    Weight

    (body + LPL)

    7.8 kg/17.2 lbs.

    Dimensions

    (body + LPL)

    L 364 mm/14.33”

    W 201 mm/7.91”

    H 158 mm/6.22”

    Operating

    Temperature

    -20° C to +45° C (-4° F to +113° F)

    Lens Mount

    62 mm LPL mount (LDS-1, LDS-2 & /i)

    Flange Focal Depth

    44 mm

    Recording

    Codecs

    ARRIRAW (.ari)

    QuickTime/ProRes (422, 422 HQ, 4444 & 4444 XQ)

    Recording

    Resolutions

    4.5K (sensor modes LF Open Gate and LF 2.39:1)

    UHD (sensor mode LF 16:9)

    2K (in-camera downscale in sensor mode LF 16:9)

    HD (in-camera downscale in sensor mode LF 16:9)

    Supported Media

    SxS PRO+ 256 GB (ProRes)

    SXR Capture Drives 1 TB (ARRIRAW or ProRes)

    SXR Capture Drives 2 TB (ARRIRAW or ProRes)

    Monitor Outputs

    MON OUT 1a, 1b and 2: SDI 6G UHD or SDI 1.5G HD up to 30 fps.

    MON OUT 3: SDI 1.5 G HD up to 30 fps, also wireless video

    Anamorphic de-squeeze for 1.25x, 1.3x, 1.5x, 2x lens squeeze ratios

    Image Processing

    16 bit linear in ALEXA Wide Gamut/Log C color space

    Target output color spaces: Log C, Rec 709 or Rec 2020

    Supports ARRI Look File (ALF-2) with CDL values and a 3D LUT

    3D LUTs available for SDR, HDR PQ and HDR HLG

    Playback

    ARRIRAW or ProRes

    Audio

    1x XLR 5 pin AUDIO IN for 2 channels, line level

    Signature Prime technical details

    Name

    ARRI

    SIGNATURE PRIME

    18/T1.8

    ARRI

    SIGNATURE PRIME

    21/T1.8

    ARRI

    SIGNATURE PRIME

    25/T1.8

    ARRI

    SIGNATURE PRIME

    29/T1.8

    Release

    2018

    2018

    2018

    2018

    Lens Mount

    LPL

    LPL

    LPL

    LPL

    MOD from sensor plane (minimum marked distance)

    0.35 m / 14"

    0.35 m / 14"

    0.35 m / 14"

    0.35 m / 14"

    MOD from lens front

    0.13 m / 5.1"

    0.13 m / 5.1“

    0.13 m / 5.1"

    0.13 m / 5.1“

    Length from flange

    178 mm / 7.01“

    178 mm / 7.01“

    178 mm / 7.01“

    178 mm / 7.01“

    Magnification Ratio at MOD (Paraxial)

    1:9.2

    1:8.2

    1:7.1

    1:6.4

    Entrance pupil position (related to image plane, in direction to object)

    189.9 mm / 7.48“

    183.4 mm / 7.22“

    178.1 mm / 7.01“

    166.0 mm / 6.54“

    Angle of view

    H - V - D
    for LF Open Gate

    91.4° / 71.0° / 102.6°

    82.8° / 63.0° / 94.0°

    73.0° / 54.4° / 84.0°

    65.2° / 47.8° / 75.8°

    Front diameter

    114 mm / 4.49“

    114 mm / 4.49“

    114 mm / 4.49“

    114 mm / 4.49“

    Maximum housing diameter

    115 mm / 4.53"

    115 mm / 4.53"

    115 mm / 4.53"

    115 mm / 4.53"

    Weight (lens only)

    2.0 kg / 4.4lb

    2.1 kg / 4.6lb

    1.9 kg / 4.2lb

    1.8 kg / 4.0lb

    Name

    ARRI

    SIGNATURE PRIME

    35/T1.8

    ARRI

    SIGNATURE PRIME

    40/T1.8

    ARRI

    SIGNATURE PRIME

    47/T1.8

    ARRI

    SIGNATURE PRIME

    58/T1.8

    Release

    2018

    2018

    2018

    2018

    Lens Mount

    LPL

    LPL

    LPL

    LPL

    MOD from sensor plane (minimum marked distance)

    0.35 m / 14"

    0.35 m / 14"

    0.45 m / 18“

    0.45 m / 18“

    MOD from lens front

    0.13 m / 5.1"

    0.13 m / 5.1“

    0.23 m / 9.0“

    0.23 m / 9.0“

    Length from flange

    178 mm / 7.01“

    178 mm / 7.01“

    178 mm / 7.01“

    178 mm / 7.01“

    Magnification Ratio at MOD (Paraxial)

    1:5.4

    1:4.8

    1:6.3

    1:5.3

    Entrance pupil position (related to image plane, in direction to object)

    162.5 mm / 6.40“

    159.8 mm / 6.29“

    156.1 mm / 6.15“

    145.4 mm / 5.72“

    Angle of view
    H - V - D
    for LF Open Gate

    55.4° /40.2° / 65.2°

    49.2° / 35.4° / 58.2°

    42.6° / 30.4° / 50.8°

    34.8° / 24.8° / 41.8°

    Front diameter

    114 mm / 4.49“

    114 mm / 4.49“

    114 mm / 4.49“

    114 mm / 4.49“

    Maximum housing diameter

    115 mm / 4.53"

    115 mm / 4.53"

    115 mm / 4.53"

    115 mm / 4.53"

    Weight (lens only)

    1.7 kg / 3.7lb

    1.9 kg / 4.2lb

    1.8 kg / 4.0lb

    2.1 kg / 4.6lb

    Name

    ARRI

    SIGNATURE PRIME

    75/T1.8

    ARRI

    SIGNATURE PRIME

    95/T1.8

    ARRI

    SIGNATURE PRIME

    125/T1.8

    ARRI

    SIGNATURE PRIME

    150/T1.8

    Release

    2018

    2018

    2018

    2018

    Lens Mount

    LPL

    LPL

    LPL

    LPL

    MOD from sensor plane (minimum marked distance)

    0.65 m / 26“

    0.85 m / 3‘ 1“

    1 m / 3‘ 4“

    1.5 m / 5‘

    MOD from lens front

    0.43 m / 16.9“

    0.63 m / 2‘ 1“

    0.78 m / 2‘ 7“

    1.25 m / 4‘ 2“

    Length from flange

    178 mm / 7.01“

    178 mm / 7.01“

    178 mm / 7.01“

    208 mm / 8.19“

    Magnification Ratio at MOD (Paraxial)

    1:7.2

    1:7.9

    1:7.0

    1:9.0

    Entrance pupil position (related to image plane, in direction to object)

    118.6 mm / 4.67“

    86.6 mm / 3.41“

    66.3 mm / 2.61“

    145.4 mm / 5.72“

    Angle of view
    H - V - D
    for LF Open Gate

    27.6° /19.4° / 33.2°

    21.8° / 15.2° / 26.4°

    16.6° / 11.6° / 20.2°

    13.8° / 9.8° / 16.8°

    Front diameter

    114 mm / 4.49“

    114 mm / 4.49“

    114 mm / 4.49“

    114 mm / 4.49“

    Maximum housing diameter

    115 mm / 4.53"

    115 mm / 4.53"

    115 mm / 4.53"

    135 mm / 5.31“

    Weight (lens only)

    1.9 kg / 4.2lb

    2.4 kg/5.3lb

    2.3 kg / 5.1lb

    3.5 kg/7.7lb

    Name

    ARRI

    SIGNATURE PRIME

    200/T2.5

    ARRI

    SIGNATURE PRIME

    12/T1.8

    ARRI

    SIGNATURE PRIME

    15/T1.8

    ARRI

    SIGNATURE PRIME

    280/T2.8

    Release

    2018

    2019

    2019

    2019

    Lens Mount

    LPL

    LPL

    LPL

    LPL

    MOD from sensor plane (minimum marked distance)

    1.8 m / 6‘

    0.35 m / 14“

    0.35 m / 14“

    2.5 m / 8‘ 2“

    MOD from lens front

    1.54 m / 5‘

    tbd

    tbd

    tbd

    Length from flange

    218 mm / 8.58“

    tbd

    tbd

    tbd

    Magnification Ratio at MOD (Paraxial)

    1:8.3

    tbd

    tbd

    tbd

    Entrance pupil position (related to image plane, in direction to object)

    48.0 mm / 1.89“

    tbd

    tbd

    tbd

    Angle of view
    H - V - D
    for LF Open Gate

    10.4° / 7.2° / 12.6°

    113.6° / 93.6° / 123.5°

    101.5° / 80.8° / 112.3°

    7.5° / 5.2° / 9.1°

    Front diameter

    114 mm / 4.49“

    tbd

    tbd

    134 mm / 5.28“

    Maximum housing diameter

    135 mm / 5.31“

    tbd

    tbd

    tbd

    Weight (lens only)

    3.6 kg/7.9lb

    tbd

    tbd

    5.5 kg/12.1lb

    Name

    ARRI

    SIGNATURE PRIME

    18/T1.8

    ARRI

    SIGNATURE PRIME

    21/T1.8

    ARRI

    SIGNATURE PRIME

    25/T1.8

    ARRI

    SIGNATURE PRIME

    29/T1.8

    ARRI

    SIGNATURE PRIME

    35/T1.8

    ARRI

    SIGNATURE PRIME

    40/T1.8

    ARRI

    SIGNATURE PRIME

    47/T1.8

    ARRI

    SIGNATURE PRIME

    58/T1.8

    ARRI

    SIGNATURE PRIME

    75/T1.8

    ARRI

    SIGNATURE PRIME

    95/T1.8

    ARRI

    SIGNATURE PRIME

    125/T1.8

    ARRI

    SIGNATURE PRIME

    150/T1.8

    ARRI

    SIGNATURE PRIME

    200/T2.5

    ARRI

    SIGNATURE PRIME

    12/T1.8

    ARRI

    SIGNATURE PRIME

    15/T1.8

    ARRI

    SIGNATURE PRIME

    280/T2.8

    Release

    2018

    2018

    2018

    2018

    2018

    2018

    2018

    2018

    2018

    2018

    2018

    2018

    2018

    2019

    2019

    2019

    Lens Mount

    LPL

    LPL

    LPL

    LPL

    LPL

    LPL

    LPL

    LPL

    LPL

    LPL

    LPL

    LPL

    LPL

    LPL

    LPL

    LPL

    MOD from sensor plane (minimum marked distance)

    0.35 m / 14"

    0.35 m / 14"

    0.35 m / 14"

    0.35 m / 14"

    0.35 m / 14"

    0.35 m / 14"

    0.45 m / 18“

    0.45 m / 18“

    0.65 m / 26“

    0.85 m / 3‘ 1“

    1 m / 3‘ 4“

    1.5 m / 5‘

    1.8 m / 6‘

    0.35 m / 14“

    0.35 m / 14“

    2.5 m / 8‘ 2“

    MOD from lens front

    0.13 m / 5.1"

    0.13 m / 5.1“

    0.13 m / 5.1"

    0.13 m / 5.1“

    0.13 m / 5.1"

    0.13 m / 5.1“

    0.23 m / 9.0“

    0.23 m / 9.0“

    0.43 m / 16.9“

    0.63 m / 2‘ 1“

    0.78 m / 2‘ 7“

    1.25 m / 4‘ 2“

    1.54 m / 5‘

    tbd

    tbd

    tbd

    Length from flange

    178 mm / 7.01“

    178 mm / 7.01“

    178 mm / 7.01“

    178 mm / 7.01“

    178 mm / 7.01“

    178 mm / 7.01“

    178 mm / 7.01“

    178 mm / 7.01“

    178 mm / 7.01“

    178 mm / 7.01“

    178 mm / 7.01“

    208 mm / 8.19“

    218 mm / 8.58“

    tbd

    tbd

    tbd

    Magnification Ratio at MOD (Paraxial)

    1:9.2

    1:8.2

    1:7.1

    1:6.4

    1:5.4

    1:4.8

    1:6.3

    1:5.3

    1:7.2

    1:7.9

    1:7.0

    1:9.0

    1:8.3

    tbd

    tbd

    tbd

    Entrance pupil position (related to image plane, in direction to object)

    189.9 mm / 7.48“

    183.4 mm / 7.22“

    178.1 mm / 7.01“

    166.0 mm / 6.54“

    162.5 mm / 6.40“

    159.8 mm / 6.29“

    156.1 mm / 6.15“

    145.4 mm / 5.72“

    118.6 mm / 4.67“

    86.6 mm / 3.41“

    66.3 mm / 2.61“

    145.4 mm / 5.72“

    48.0 mm / 1.89“

    tbd

    tbd

    tbd

    Angle of view
    H - V - D
    for LF Open Gate

    91.4° / 71.0° / 102.6°

    82.8° / 63.0° / 94.0°

    73.0° / 54.4° / 84.0°

    65.2° / 47.8° / 75.8°

    55.4° /40.2° / 65.2°

    49.2° / 35.4° / 58.2°

    42.6° / 30.4° / 50.8°

    34.8° / 24.8° / 41.8°

    27.6° /19.4° / 33.2°

    21.8° / 15.2° / 26.4°

    16.6° / 11.6° / 20.2°

    13.8° / 9.8° / 16.8°

    10.4° / 7.2° / 12.6°

    113.6° / 93.6° / 123.5°

    101.5° / 80.8° / 112.3°

    7.5° / 5.2° / 9.1°

    Front diameter

    114 mm / 4.49“

    114 mm / 4.49“

    114 mm / 4.49“

    114 mm / 4.49“

    114 mm / 4.49“

    114 mm / 4.49“

    114 mm / 4.49“

    114 mm / 4.49“

    114 mm / 4.49“

    114 mm / 4.49“

    114 mm / 4.49“

    114 mm / 4.49“

    114 mm / 4.49“

    tbd

    tbd

    134 mm / 5.28“

    Maximum housing diameter

    115 mm / 4.53"

    115 mm / 4.53"

    115 mm / 4.53"

    115 mm / 4.53"

    115 mm / 4.53"

    115 mm / 4.53"

    115 mm / 4.53"

    115 mm / 4.53"

    115 mm / 4.53"

    115 mm / 4.53"

    115 mm / 4.53"

    135 mm / 5.31“

    135 mm / 5.31“

    tbd

    tbd

    tbd

    Weight (lens only)

    2.0 kg / 4.4lb

    2.1 kg / 4.6lb

    1.9 kg / 4.2lb

    1.8 kg / 4.0lb

    1.7 kg / 3.7lb

    1.9 kg / 4.2lb

    1.8 kg / 4.0lb

    2.1 kg / 4.6lb

    1.9 kg / 4.2lb

    2.4 kg/5.3lb

    2.3 kg / 5.1lb

    3.5 kg/7.7lb

    3.6k g/7.9lb

    tbd

    tbd

    5.5 kg/12.1lb

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