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- ARRI Zeiss Master Prime 12mm T1.3
- ARRI Zeiss Master Prime 14mm T1.3
- ARRI Zeiss Master Prime 16mm T1.3
- ARRI Zeiss Master Prime 18mm T1.3
- ARRI Zeiss Master Prime 21mm T1.3
- ARRI Zeiss Master Prime 25mm T1.3
- ARRI Zeiss Master Prime 27mm T1.3
- ARRI Zeiss Master Prime 32mm T1.3
- ARRI Zeiss Master Prime 35mm T1.3
- ARRI Zeiss Master Prime 40mm T1.3
- ARRI Zeiss Master Prime 50mm T1.3
- ARRI Zeiss Master Prime 65mm T1.3
- ARRI Zeiss Master Prime 75mm T1.3
- ARRI Zeiss Master Prime 100mm T1.3
- ARRI Zeiss Master Prime 135mm T1.3
- ARRI Zeiss Master Prime 150mm T1.3
ARRI Zeiss Master Primes
Primes - Spherical - Super 35
product details
ARRI/Zeiss Master Prime lenses are a renowned series of high-end cinema lenses that offer a consistent maximum aperture of T1.3 across the entire lineup, allowing for exceptional low-light performance and shallow depth of field. The Master Prime legacy represents a milestone in lens design, setting a benchmark for precision, speed, and cinematic character that continues to influence lens development today. ARRI/Zeiss Master Primes are available for rental or sub-rental at Cine Visuals.
- ARRI Zeiss Master Prime 12mm T1.3
- ARRI Zeiss Master Prime 14mm T1.3
- ARRI Zeiss Master Prime 16mm T1.3
- ARRI Zeiss Master Prime 18mm T1.3
- ARRI Zeiss Master Prime 21mm T1.3
- ARRI Zeiss Master Prime 25mm T1.3
- ARRI Zeiss Master Prime 27mm T1.3
- ARRI Zeiss Master Prime 32mm T1.3
- ARRI Zeiss Master Prime 35mm T1.3
- ARRI Zeiss Master Prime 40mm T1.3
- ARRI Zeiss Master Prime 50mm T1.3
- ARRI Zeiss Master Prime 65mm T1.3
- ARRI Zeiss Master Prime 75mm T1.3
- ARRI Zeiss Master Prime 100mm T1.3
- ARRI Zeiss Master Prime 135mm T1.3
- ARRI Zeiss Master Prime 150mm T1.3
| Set Includes |
12mm – 150mm (16 Lenses)
|
| Type | - |
| Format | - |
| Lens Mount | - |
| Iris Blades | - |
| Metadata | - |
| Per Focal Length | |
| Focal Length | - |
| T-Stop | - |
| Close Focus | - |
| Front Diameter | - |
| Weight | - |
| Length | - |
| Era / Generation | |
| Contrast & Tonal Character | |
| Sharpness & Resolution | |
| Focus Fall-Off / Transition | |
| Iris & Bokeh Quality | |
| Flare & Highlight Behavior | |
| Handling & Ergonomics | |
| Build & Modifications | |
| Cinematic Heritage & Credits |
*Refer to the Technical Specifications table
Blogs
Image Fidelity & Focus
Optically, Master Primes are celebrated for their sharpness, minimal distortion, and well-controlled chromatic aberration, even when shooting wide open. Their precise focus mechanics feature minimal breathing and a long 270-degree focus rotation, giving camera operators and focus pullers remarkable control and consistency.
Flare & Bokeh
ARRI/Zeiss Master Primes exhibit a subtle and controlled flare characteristic, thanks to advanced coatings and internal baffling, allowing cinematographers to capture clean images without sacrificing creative flare when desired. The bokeh is smooth and creamy, with an organic falloff that enhances subject isolation.
Handling & Adaptability
Built with robust mechanics and a uniform design across focal lengths, Master Primes are known for their reliability on set and their ability to deliver outstanding optical performance even at wide apertures. Long and consistent focus throws give focus pullers the ability to make highly accurate pulls. Their iris rings are smooth and standardized in gearing, making them fully compatible with follow-focus and remote lens control systems.
Image Circle
The image circle easily covers Super 35 sensors.
Cinematic Heritage
ARRI/Zeiss Master Primes were developed collaboratively by ARRI and Carl Zeiss and introduced in the early 2000s. Since then they have been used on hundreds of prestige features by master cinematographers, including Birdman, The Revenant and The Tree of Life (Emmanuel Lubezki, ASC, AMC); Sicario, Blade Runner 2049 and Skyfall (Roger Deakins, ASC, BSC); and The Shape of Water, The Girl with the Dragon Tattoo and The Irishman.
Blogs
Image Fidelity & Focus
Optically, Master Primes are celebrated for their sharpness, minimal distortion, and well-controlled chromatic aberration, even when shooting wide open. Their precise focus mechanics feature minimal breathing and a long 270-degree focus rotation, giving camera operators and focus pullers remarkable control and consistency.
Handling & Adaptability
Built with robust mechanics and a uniform design across focal lengths, Master Primes are known for their reliability on set and their ability to deliver outstanding optical performance even at wide apertures. Long and consistent focus throws give focus pullers the ability to make highly accurate pulls. Their iris rings are smooth and standardized in gearing, making them fully compatible with follow-focus and remote lens control systems.
Flare & Bokeh
ARRI/Zeiss Master Primes exhibit a subtle and controlled flare characteristic, thanks to advanced coatings and internal baffling, allowing cinematographers to capture clean images without sacrificing creative flare when desired. The bokeh is smooth and creamy, with an organic falloff that enhances subject isolation.
Image Circle
The image circle easily covers Super 35 sensors.
Cinematic Heritage
ARRI/Zeiss Master Primes were developed collaboratively by ARRI and Carl Zeiss and introduced in the early 2000s. Since then they have been used on hundreds of prestige features by master cinematographers, including Birdman, The Revenant and The Tree of Life (Emmanuel Lubezki, ASC, AMC); Sicario, Blade Runner 2049 and Skyfall (Roger Deakins, ASC, BSC); and The Shape of Water, The Girl with the Dragon Tattoo and The Irishman.
Technical Specs Table
T-Stop
Type
Format
Front Diameter
Lens Mount
Metadata
Close Focus (ft)
Close Focus (m)
Weight (lbs)
Weight (kg)
Length (in)
Length (mm)
Iris Blades
Image Circle
Front Filter
Rear Filter
Horizontal Angle of View (Full Frame)
Horizontal Angle of View (S35)
Focus Rotation
T1.3
Spherical
Super 35
156 mm
PL
LDS
1'4"
0.40 m
6.40 lbs
2.90 kg
7.80"
197.00 mm
9
31.14 mm
–
–
–
–
–
T1.3
Spherical
Super 35
114 mm
PL
LDS
1'2"
0.35 m
5.30 lbs
2.40 kg
6.80"
172.00 mm
9
31.14 mm
–
–
–
–
–
T1.3
Spherical
Super 35
114 mm
PL
LDS
1'2"
0.35 m
4.80 lbs
2.20 kg
6.00"
153.00 mm
9
31.14 mm
–
–
–
–
–
T1.3
Spherical
Super 35
114 mm
PL
LDS
1'2"
0.35 m
4.80 lbs
2.20 kg
6.00"
153.00 mm
9
31.14 mm
–
–
–
–
–
T1.3
Spherical
Super 35
114 mm
PL
LDS
1'2"
0.35 m
5.30 lbs
2.40 kg
6.00"
153.00 mm
9
31.14 mm
–
–
–
–
–
T1.3
Spherical
Super 35
114 mm
PL
LDS
1'2"
0.35 m
5.10 lbs
2.30 kg
6.00"
153.00 mm
9
31.14 mm
–
–
–
–
–
T1.3
Spherical
Super 35
114 mm
PL
LDS
1'2"
0.35 m
4.80 lbs
2.20 kg
6.00"
153.00 mm
9
31.14 mm
–
–
–
–
–
T1.3
Spherical
Super 35
114 mm
PL
LDS
1'2"
0.35 m
5.10 lbs
2.60 kg
6.00"
153.00 mm
9
31.14 mm
–
–
–
–
–
T1.3
Spherical
Super 35
114 mm
PL
LDS
1'2"
0.35 m
4.80 lbs
2.20 kg
6.00"
153.00 mm
9
31.14 mm
–
–
–
–
–
T1.3
Spherical
Super 35
114 mm
PL
LDS
1'4"
0.40 m
5.10 lbs
2.60 kg
6.00"
153.00 mm
9
31.14 mm
–
–
–
–
–
T1.3
Spherical
Super 35
114 mm
PL
LDS
1'8"
0.50 m
5.90 lbs
2.70 kg
6.00"
153.00 mm
9
31.14 mm
–
–
–
–
–
T1.3
Spherical
Super 35
114 mm
PL
LDS
2'3"
0.65 m
5.70 lbs
2.60 kg
6.00"
153.00 mm
9
31.14 mm
–
–
–
–
–
T1.3
Spherical
Super 35
114 mm
PL
LDS
2'9"
0.80 m
6.20 lbs
2.80 kg
6.00"
153.00 mm
9
31.14 mm
–
–
–
–
–
T1.3
Spherical
Super 35
114 mm
PL
LDS
3'6"
1.00 m
6.40 lbs
2.90 kg
6.00"
153.00 mm
9
31.14 mm
–
–
–
–
–
T1.3
Spherical
Super 35
114 mm
PL
LDS
3'3"
0.95 m
6.20 lbs
2.80 kg
6.80"
172.00 mm
9
31.14 mm
–
–
–
–
–
T1.3
Spherical
Super 35
134 mm
PL
LDS
4'11"
1.50 m
8.80 lbs
4.00 kg
8.30"
210.00 mm
9
31.14 mm
–
–
–
–
–
Blogs
Links & Downloads
PROJECTS
The Killing of a Sacred Deer (2017)
Director: Yorgos Lanthimos
DP: Thimios Bakatakis
Lenses: ARRI Zeiss Master Primes
John Wick: Chapter 3 — Parabellum (2019)
Director: Chad Stahelski
DP: Dan Lausten
Lenses: ARRI Zeiss Master Primes
Skyfall (2012)
Director: Sam Mendes
DP: Roger Deakins
Lenses: ARRI Zeiss Master Primes
Top Gun: Maverick
Director: Joseph Kosinski
DP: Claudio Mirando
Lenses: ARRI Zeiss Master Primes
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