ARRI LENSES

Consistency. Choice. Creativity.

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the largest matched range
ARRI lenses
of modern primes and zooms
ARRI ofers an unrivalled collection of color-matched cine lenses, providing
cinematographers with exibility and consistent optical quality. Ranging from
sophisticated wide-angle primes to state-of-the-art zooms, ARRI lenses
can meet the needs of any shot, on any production.
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ARRINAR
ARRI
ULTRASCOPE
LENSES
ARRIFLEX/SCHNEIDER
CINEGON LENSES
ARRISCOPE
LENSES
ARRI/ZEISS 765
LENSES
ARRIFLEX/ZEISS
HIGH SPEED
LENSES
ARRIFLEX/
ZEISS
VARIO-SONNAR
ARRIFLEX/ZEISS
STANDARD LENSES
ARRI/ZEISS
VARIABLE PRIME
LENSES
ARRI-MACRO

ARRI SHIFT +
TILT SYSTEM
ARRI/ZEISS
ULTRA PRIME
LENSES
ARRI/ZEISS
MASTER PRIME
LENSES
ARRI/ZEISS
ULTRA 16
LENSES
ARRI/ZEISS
LIGHTWEIGHT
ZOOM
ARRI/ZEISS
MASTER MACRO 100
ARRI/FUJINON
ALURA ZOOM
LENSES

ARRI/ZEISS
MASTER ANAMORPHIC
LENSES
ARRI/ZEISS LDS
ULTRA PRIME
LENSES
1924 1956 1959 1967 1989 1991 1993 1994 1996 1999 2001 2005 2009 2013 2007 1988 2006 2010
ARRI/ZEISS
MASTER ZOOM
ARRIFLEX/ZEISS
MACRO
ARRI-MACRO
LENSES
ARRIFLEX/COOKE SPEED
PANCHRO LENSES
ARRIFLEX/ZEISS
STANDARD
LENSES
1974
95 YEARS OF EXPERIENCE
a perfect combination
of camera and lens
The most inspiring visuals are created when the best attributes
of a lens and a camera are combined to produce an image that is
greater than the sum of its parts. As a developer of both camera
and lens systems, ARRI has spent many decades rening its
unique insight into how the two can work together to achieve
the highest possible image quality.
ARRIs total system competence and understanding of the symbiotic
relationship between cameras and lenses has led to production benets
that go beyond stunningly beautiful images. By pioneering lens data
technology and electronic communication between lenses and cameras,
ARRI has facilitated efciencies not only on set, but also in post.
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with the best
Co-operation
In order to produce lenses of the same exceptional quality, precision and durability as its cameras,
ARRI has always collaborated with the worlds leading optics companies. The 75-year relationship
with ZEISS has resulted in lenses that have changed the language of cinema. More recently,
ARRI has worked with FUJINON to create a new generation of zooms that perfectly complement
the ALEXA camera.
ARRI denes the concept and specication of every lens before handing manufacturing
duties over to its optics partners. As with all ARRI products, real-world feedback from
professional lmmakers plays a crucial part in the development process. With a complete
understanding of cinematographers needs, ARRI consistently produces lenses that
quickly become valued workhorses of the industry.
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SKYFALL 2012 DANJAQ, LLC, UNITED ARTISTS CORPORATION AND COLUMBIA PICTURES INDUSTRIES, INC. All Rights Reserved. Courtesy of MGMMedia Licensing.
sharpness and high contrast
Supreme
Cinematographic images can be manipulated almost endlessly both on set and in
postproduction, but the best possible starting point is an image of uncompromising
clarity, range and detail. That is why ARRI lenses are second-to-none in terms of
contrast and sharpness.
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pleasing look
A natural and
ARRI lenses are consistently clean and distortion-free, but they are not
without life or character. The lustrous color rendition and pleasing skin
tones, as well as the beautiful out-of-focus highlights and deep texture
result in rich images that are full of vitality and emotion.
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efcient VFX workow
Lens metadata for an
The ARRI Lens Data System (LDS) instantly provides lens metadata to the camera system,
bringing signicant workow efciencies both on set and in post. Information about lens and
camera settings can be displayed on a camera-mounted monitor, making the focus pullers job
easier and facilitating remote operations. Lens data generated by the system can also be
extremely benecial for visual efects tasks.
Photo credit: David Appleby
2013 PARAMOUNT PICTURES. All Rights Reserved.
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PRIME LENSES
Ultra Prime lenses
The ARRI/ZEISS Ultra Prime series has the widest focal length range
of any prime lens set available on the market. From the unique
Ultra Prime 8R extreme wide-angle lens to the most advanced
telephoto lens designed specically for motion pictures, the
Ultra Prime 180, this complete series covers every possible angle.
Ultra Prime lenses retain their excellent image quality across the
whole Super 35 frame, even at close focus. The Ultra Prime lenses
are lightweight, standard speed lenses that are a perfect optical
match to the high speed ARRI/ZEISS Master Prime series, giving you
the exibility to get the coverage you need.
T1.7/100 mm T2.8/8R T2.0/12 mm T1.9/65 mm T1.9/85 mm T1.9/180 mm T1.9/ 135 mm T1.9/20 mm T1.9/16 mm T1.9/14 mm T1.9/24 mm T1.9/28 mm T1.9/32 mm T1.9/40 mm T1.9/50 mm T1.9/100 mm
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ULTRA PRIME LENSES
compact and lightweight
Exceptionally
ELIZABETH: THE GOLDEN AGE 2007 Universal City Studios, Inc.
ARRI AND ZEISS REALLY DID MAKE A GOOD SET OF LENSES WITH THE ULTRAS
THEYRE LIGHTWEIGHT, WITH SUPERB QUALITY AND RESOLUTION. THE 28 MM
WAS A PARTICULAR FAVORITE ON THE GOLDEN AGE.
Cinematographer Remi Adefarasin, OBE, BSC
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state-of-the-art
optical technology
ULTRA PRIME LENSES
THEY ARE AS GOOD AS LENSES CAN
GET RIGHT NOW. THEY ARE SUPER
SHARP, DEEP, AND RENDER GREAT
IMAGES IN THAT SENSE.
Cinematographer Rodrigo Prieto, ASC, AMC
BABEL 2006 Tobis Film
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tough and hard-wearing
Reliably
for the biggest productions
ULTRA PRIME LENSES
KING KONG 2005 Universal City Studios, LLLP
THE EMPIRE STATE BUILDING DESIGN IS A TRADEMARK OF THE EMPIRE
STATE BUILDING L.L.C. AND IS USED WITH PERMISSION.
ROBUST, COMPACT, MATCHED, RELIABLE. THEY STAND THE TEST OF LONG HAUL
PROJECTS LIKE THE LORD OF THE RINGS, KING KONG AND THE HOBBIT.
Cinematographer Andrew Lesnie, ACS, ASC
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AMLIE WAS ONE OF THE FIRST
FILMS TO GO THROUGH A DIGITAL
GRADE, SO I CHOSE ULTRA PRIME
LENSES TO BE SURE OF HAVING
MAXIMUM DEFINITION.
Cinematographer Bruno Delbonnel, AFC, ASC
ULTRA PRIME LENSES
LE FABULEUX DESTIN DAMLIE POULAIN by Jean-Pierre Jeunet
2001 UGC Images Tapioca Films France 3 Cinma MMC Independent
vivid colors and
maximum denition
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SMALLER, LIGHTER AND EASIER TO FILTER THAN
THE 10 MM, THE ULTRA PRIME 8R IS SHARP ALL THE
WAY TO THE CORNERS AND FAITHFULLY DISPLAYS
STRAIGHT LINES.
Cinematographer Roger Buckingham, ACS
ULTRA PRIME LENSES
The Ultra Prime 8R/T2.8 is an extreme wide-angle lens with a unique look that
cannot be equaled by any other lens in the lm or video world. A sophisticated
rectilinear design allows the 8R to capture an exceptionally wide angle of view
without any of the commonly associated sheye distortions.
the widest angle
with no distortion
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LDS Ultra Prime lenses
Ultra Prime lenses were the rst to be kitted out with ARRIs revolutionary Lens Data System (LDS).
The LDS Ultra Prime series consists of Ultra Prime optical elements transplanted into specially
designed housings that allow each lens to communicate with the camera electronically, easing tasks
on set and providing valuable metadata for postproduction.
PRIME LENSES
T2.0/12 mm T1.9/14 mm T1.9/16 mm T1.9/28 mm T1.9/32 mm T1.9/40 mm T1.9/50 mm T1.9/65 mm T1.9/85 mm T1.9/100 mm T1.9/180 mm T1.9/24 mm T1.9/135 mm T1.9/20 mm
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LDS lens data table
Cinematographer Bill Bennett
and director Andrew Sinagra
LDS ULTRA PRIME LENSES
HAVING THE DATA EMBEDDED DIRECTLY IN THE
SOURCE FOOTAGE ENSURES THAT WE HAVE THE
INFORMATION WE NEED WHEN IT COMES TIME FOR POST.
ADDITIONALLY HAVING FRAME BY FRAME LENS AND
CAMERA INFO GIVES US AN ADVANTAGE WHEN TRACKING
3D CAMERAS TO OUR FOOTAGE.
Director Andrew Sinagra, Ntropic
THE LENS METADATA EMBEDDED IN THE IMAGE FILE, FRAME
BY FRAME, ALONG WITH THE CAMERA METADATA, GREATLY
FACILITATES THE CREATION OF THE CGI AUTOMOBILE. THIS
SAVES THE POST-EFFECTS COMPANY HOURS OF TIME AND
MONEY, ALLOWING THEM TO MEET A VERY TIGHT DELIVERY
SCHEDULE AND BUDGET FOR THE FINISHED PIECE.
Cinematographer Bill Bennett, ASC
saving time and money
Speedy VFX route
FORD ESCAPE car commercial
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Master Prime lenses
PRIME LENSES
Scientic and Engineering Award 2011 of
the Academy of Motion Picture Arts and
Sciences (A.M.P.A.S.) for the mechanical
and optical design of the ARRI/ZEISS
Master Prime cine lenses
The ARRI/ZEISS Master Prime series nally realized a dream of many
cinematographers: lenses that are not only fast, but that surpass all standard
speed primes in their image performance. Master Prime lenses ofer consistent
optical quality across the T-stop and focus scales, and display no breathing,
while their incredible speed opens up new creative opportunities.
There is simply no better choice than the Master Prime lenses for lm
or digital productions shooting spherical. Totaling 16 lenses, the
Master Prime series boasts more focal lengths than any other set of
modern primes, an amazing nine of which are at or under 35 mm,
providing unparalleled exibility for wide-angle shots.
T1.3/12 mm T1.3/14 mm T1.3/16 mm T1.3/25 mm T1.3/27 mm T1.3/32 mm T1.3/35 mm T1.3/40 mm T1.3/50 mm T1.3/65 mm T1.3/135 mm T1.3/100 mm T1.3/21 mm T1.3/75 mm T1.3/18 mm T1.3/150 mm
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MASTER PRIME LENSES
low light scenes
High speed for
with T1.3 across the full range
I'VE LONG BEEN A FAN OF ARRI MASTER PRIME LENSES, THEIR OPTICAL QUALITY IS
SUPERB AND THE BROAD RANGE OF FOCAL LENGTHS IS INVALUABLE, PARTICULARLY ON
A FILM ON THE SCALE OF LES MISRABLES. I HAD ACCESS TO EVERY CONCEIVABLE LENS
SIZE I COULD POSSIBLY WANT, AND I USED THEM ALL.
Cinematographer Danny Cohen, BSC
LES MISRABLES
2012 Universal Pictures. Photos: Laurie Sparham
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MASTER PRIME LENSES
organic feel
Round iris for an
and pleasant focus behaviour
THE LARGE SELECTION OF FOCAL LENGTHS, THE PLEASANT FOCUS BEHAVIOUR AND
THE SHARPNESS OF THE MASTER PRIME LENSES CANNOT BE BEATEN. I ALSO APPRECIATE
THE SPEED AND THE PERFECTLY ROUND IRIS, WHICH PROVIDES AN ORGANIC FEEL.
Cinematographer Frank Griebe
CLOUD ATLAS 2012 X Verleih AG
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THE IMAGE QUALITY IS ABSOLUTELY BEAUTIFUL. IT IS SHARP WITHOUT
FEELING CLINICAL AND NEUTRAL IN TONE.
Cinematographer Roberto Schaefer, ASC
MASTER PRIME LENSES
KITE RUNNER 2007 Paramount Pictures
rich tonality
Unmistakable
with sharp, characterful images
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THERE WAS A LOT OF BLUESCREEN
WORK ON LIFE OF PI, SO WE NEEDED
OUR LENSES TO BE EXTREMELY
SHARP. THATS WHY WE CHOSE
THE MASTER PRIMES.
Cinematographer Claudio Miranda, ASC
LIFE OF PI 2012 Twentieth Century Fox Film Corporation. All Rights Reserved.
MASTER PRIME LENSES
easy VFX compositing
Extremely high resolution for
Cinematographer Claudio Miranda
and director Ang Lee
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THE ARRI/ZEISS MASTER PRIMES
ARE THE BEST LENSES I HAVE EVER
WORKED WITH; THERE SEEMS TO BE
NO BREATHING AT ALL THROUGH
THE FOCUS RANGE.
Cinematographer Karl Walter Lindenlaub, BVK, ASC
MASTER PRIME LENSES
stable images
with minimal breathing during focus pulls
THE CHRONICLES OF NARNIA: PRINCE CASPIAN
2008 Disney Enterprises, Inc. and Walden Media, LLC. All Rights Reserved.
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PORTRAITS ARE THE MOST SENSITIVE SHOTS A DP
HAS TO CREATE. WITH THE NEW MASTER PRIME 135,
WE ARE PERFECTLY PREPARED FOR
THAT CHALLENGE.
Cinematographer Tom Fhrmann, BVK
MASTER PRIME LENSES
ARRIs continuous dialogue with cinematographers, operators and directors revealed
demand for a new ARRI/ZEISS Master Prime with a focal length of 135 mm. This is the
ideal portrait lens for many situations, capturing a natural and pleasing rendition of the
human face and tting nicely between the Master Prime 100 and 150.
perfect portraits
The perfect lens for
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MASTER MACRO 100
For those who want the ultimate in image quality for tabletop
cinematography, product shots, close-up inserts on feature lms or
any other applications that require a macro lens, the ARRI/ZEISS
Master Macro 100 delivers images of staggering beauty.
Designed for the ANSI Super 35 image format, the Master Macro 100
can be used on any PL mount 35 mm lm or single-sensor 35 format
digital camera. It can, however, also be used on PL mount 16 mm lm
and single-sensor 16 format or 2/3 digital cameras.
close-up on quality
with staggering, life-size detail
WORKING AS A TABLETOP DIRECTOR/DP, THE VERSATILE
MASTER MACRO 100 IS THE ONLY MUST-HAVE LENS ON
EVERY JOB I SHOOT. UNLIKE OTHER MACROS IT PERFORMS
BRILLIANTLY AT ALL T-STOPS AND PRODUCES SHARP, RICH,
CONTRASTY IMAGES THAT POP FROM THE SCREEN.
Cinematographer Viv Scanu
NESTLE PRODUCTION IMAGES Carnival Films, Sydney Australia
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PRIME LENSES
T1.9/35 mm T1.9/40 mm T1.9/50 mm T1.9/100 mm T1.9/135 mm T1.9/75 mm T1.9/60 mm
Master Anamorphic lenses
A range of seven high-performance prime lenses, the ARRI/ZEISS
Master Anamorphic series represents a signicant step forward in
the technology and practicality of anamorphic cinematography for
35 format digital and lm cameras.
For the rst time, a perfect combination of compact size, minimal weight,
very high speed and exceptional optical design with minimal distortion
has been achieved in a set of anamorphics. With beautiful out-of-focus
backgrounds and a smooth, cinematic look, the Master Anamorphic
lenses are as fast and easy to use on set as other modern cine lenses.
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A TRIP TO REMEMBER 2013 Image Works for ARRI
I WAS REALLY HAPPY WITH HOW THE
MASTER ANAMORPHIC PERFORMED AT T1.9
BECAUSE THERE WAS NO DISTORTION AND
NO LOSS OF THE COLOR STRUCTURE.
Cinematographer Michel Abramowicz, AFC
MASTER ANAMORPHIC LENSES
low distortion
for uncompromised cinemascope
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MASTER ANAMORPHIC LENSES
THE MASTER ANAMORPHICS BLEW ME AWAY WITH THEIR MAGICAL BLEND
OF MASTER PRIME RESOLUTION AND CONTRAST WITH NEVER-BEFORE SEEN
SMOOTHNESS, COLOR RENDITION AND CINEMATIC BOKEH. THESE LENSES
WILL TAKE ANAMORPHIC TO A WHOLE NEW LEVEL.
Cinematographer Stijn Van Der Veken, SBC
cinematic bokeh
with high contrast and nice focus fall-of
IN FLANDERS FIELDS 2013 VRT/Menuet
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MASTER ANAMORPHIC LENSES
A TRIP TO REMEMBER 2013 Image Works for ARRI
beautiful skin tones
and precise color rendition
WITH THE MASTER ANAMORPHIC, THERE
IS A GRADUATION AS THE FOCUS FALLS
AWAY THAT IS VERY NICE. THIS LENS HELPS
A LOT WITH GETTING A VERY NICE SKIN
TEXTURE AND COLOR; IN FACT THESE WERE
THE NICEST SKIN TONES I HAVE EVER SEEN
ON DIGITAL.
Cinematographer Michel Abramowicz, AFC
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AT NIGHT, THE QUALITY OF THE OUT-OF-FOCUS
HIGHLIGHTS GAVE US ADDITIONAL ARTISTIC
POSSIBILITIES. I FOUND THAT, WHEN SHOOTING
DIGITALLY, ANAMORPHIC BROUGHT US CLOSER
TO A FILMIC LOOK.
Director Roberto de Angelis
MASTER ANAMORPHIC LENSES
oval out-of-focus highlights
Characteristic
A TRIP TO REMEMBER 2013 Image Works for ARRI
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ZOOM LENSES
T2.8/15.5-45 mm T2.8/30-80 mm 1.4x Extender T2.6/45-250 mm T2.6/ 18-80 mm 2.0x Extender
Alura Zoom lenses
The four lenses in the ARRI/FUJINON Alura Zoom range ofer a complete imaging
solution to productions wishing to benet from the speed and exibility of
working with zooms. Suitable for both lm and digital cameras, all four of the
lenses are color matched not just to each other, but also to ARRI prime lenses,
exhibiting high contrast and high resolution for sharp, punchy images.
Comprising two production zooms, two lightweight zooms and two extenders,
the Alura series covers a focal length range of 15.5 mm to 500 mm. The light-
weight zooms are unprecedented in the level of optical sophistication they
pack into such compact housings, ofering the perfect solution for fast-moving
productions, Steadicam and handheld work, smaller cameras and action shots.
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ALURA ZOOM LENSES
THE BOLD CHOICE IN ONLY USING THE ALURA ZOOM
18-80 PROVED TO BE THE RIGHT CHOICE FOR SHOOTING
THIS ADVERTISEMENT AS IT PROVIDED PRODUCTION
VALUE, AFFORDABILITY AND HIGH-END QUALITY.
IT SACRIFICES NOTHING COMPARED TO PRIME LENSES.

Cinematographer Luan Shi
afordable high-end quality
High production value through
Fujian Province Tourism Promotional Video 2013 Shanghai Sanzhong Marketing Planning and Service Company/ Fujian Travel and Tourism Administration
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WHAT I LOVE ABOUT THE 15.5-45 ALURA IS ITS
VERSATILITY. THE LDS FEATURE IS PARTICULARLY
USEFUL WHEN I'M SHOOTING VFX WORK.
POSTPRODUCTION FACILITIES LOVE THE FACT
THAT ALL THE METADATA THEY NEED IS
EMBEDDED IN EACH SHOT.
Cinematographer Robert Shacklady
ALURA ZOOM LENSES
LDS lens metadata
with the Lightweight Alura Zooms
www.robertshacklady.com
Stephen McGrath www.maddoggiraffe.com
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ALURA ZOOM LENSES
I WAS IMPRESSED NOT ONLY WITH THE CLARITY AND COLOR RENDITION,
BUT THE HIGH SPEED AND LACK OF FALL-OFF AT THE WIDE END. WHEN YOUVE
GOT A VERY SMALL AMOUNT OF TIME, BEING ABLE TO POP IN ON THE ZOOM
FOR A CLOSE-UP CAN MAKE THE DIFFERENCE BETWEEN GETTING A SHOT AT
THE END OF THE DAY OR NOT.
Cinematographer Jaron Presant
color matched
to all other ARRI lenses
LIFE BEGINS AT REWIREMENT 2012 ManMade Films
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ALURA ZOOM LENSES
WHETHER IN STUDIO MODE, ON MY SHOULDER, WIDE
OR LONG, THE ALURA FAMILY OF ZOOMS DELIVER
A CONSISTENT QUALITY THAT I CAN DEPEND ON, AND
NOW HOLD AS A HIGH STANDARD.
Cinematographer Greg Ephraim
consistent image quality
across the full Alura range
SMILE EMPTY SOUL music promo
Photo: Jacob Abrams
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ALURA ZOOM LENSES
go-anywhere zooms
that can take the heat
Photo: Dave Mothershaw
I USED THE ALURA 45-250 IN THE HEAT OF THE DESERT
AS WELL AS IN ARCTIC SNOWSTORMS. IT'S A GREAT
LENS TO CAPTURE WILDLIFE IN ITS HABITAT AND IT
PERFORMS BEAUTIFULLY, ESPECIALLY IN BACKLIGHT.
I LOVE HOW THE ALURA SURPRESSES LENS FLARES
AND HOW IT PAINTS THE SUN.
Wildlife cinematographer Rolf Steinmann
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ARRI subsidiaries
Over 50 service and support partners worldwide; contact details at www.arri.com
ARRI products are renowned all over the world for their precision and durability. Despite this, ARRI values the trust of its
customers in after-sales service and support as highly as their trust in the equipment itself. With service centers covering
the entire globe, we are never too far away to provide support at a moments notice, wherever you might be.
service and support
Global
for an international industry
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