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ARRI CINEMA LENSES
Founded in Munich in 1917, ARRI is one of the defining manufacturers in cinema technology, with a long history spanning both camera systems and optics. Cine Visuals carries a comprehensive range of ARRI lenses, from Signature and Ensล systems to Master Primes and classic Zeiss collaborations, all maintained by in-house technicians.
- Full Frame LF/VV | SphericalThe Ensล Primes share the optical rendering of the Signature Primes in a significantly more compact and lighter housing, with full-frame projection. Affordability and physical accessibility set them apart from the rest of the ARRI prime lineup.
- Full Frame LF/VV | SphericalThe Signature Primes are ARRIโs first fully in-house large-format prime lens series, covering a wide range of focal lengths at T1.8. Their rendering balances sharpness with an organic quality, with accurate skin tone reproduction across the set.
- Full Frame LF/VV | SphericalThe Signature Zooms apply the optical design of the Signature Primes to a zoom configuration. They are used when productions require focal flexibility while maintaining a consistent look with the prime set.
- Super 35 | SphericalThe Ultra Prime 8R is an ultra-wide rectilinear lens designed to match the Ultra Prime set at extreme focal lengths. It extends the range of the series while maintaining consistent optical correction and rendering.
- Super 35 | SphericalOptically identical to the Ultra Primes, the LDS version adds the Lens Data System, enabling direct communication between the lens and camera body. For productions running LDS-dependent workflows, that integration is the sole distinction from the standard Ultra Prime.
- Super 35 | SphericalDeveloped at the height of the film era, the Ultra Primes represent the accumulated optical knowledge of late 20th century lens design, built to be sharp enough for the demands of the time while retaining the character of pre-digital, pre-VFX glass. Lighter than the Master Primes and sharing a similar design philosophy, they remain a widely used option for productions that want that optical lineage at reduced weight.
- Super 35 | SphericalWidely regarded on a technical level as among the most optically complete lenses ever made, the Master Primes were engineered simultaneously for traditional film, DI, and VFX pipelines. The design extended the Ultra Prime philosophy further, maximizing image rendition, speed, and optical performance while preserving crisp yet organic imagery.
- Super 35 | SphericalBuilt on the same optical philosophy as the Master Primes and drawing from the earlier ARRI Macro Prime lineage, the Master Macro 100mm is a purpose-built close-focus addition to the Master family. It matches seamlessly with the Master Prime set, maintaining consistent color and rendering across the unit.
- Super 35 | AnamorphicThe Master Anamorphic lenses build on the Master Prime optical foundation with a dedicated anamorphic front element. They provide a more controlled and consistent anamorphic image than traditional designs from the same period.
- Super 35 | SphericalThe Alura Zooms are a collaboration between ARRI and Fujinon, combining ARRIโs mechanical design with Fujinonโs zoom optics. They are used in productions requiring sharp, high-contrast images with reliable performance across the zoom range.
- Super 35 | SphericalEngineered specifically for macro cinematography, this full prime set achieves extreme close focus while maintaining the optical characteristics associated with cinema-grade glass. The rendering sits between the Zeiss Super Speeds and the Ultra Primes, applying that tonal range to macro work.
- Super 16 | SphericalThe Ultra Prime optical design reworked for a 16mm image circle, carrying the same corrections and character as the full-format version. Productions shooting on 16mm or smaller sensor formats requiring matched lenses are the primary use case.
What are ARRI Cinema Lenses Known For?
Founded in 1917 in Munich, Germany, ARRI has few peers in terms of industry legacy. Though primarily associated with camera technology, the company has been involved in optics throughout its history, collaborating with Zeiss across much of the 20th century on some of the most widely used lens sets in cinema. In that partnership, Zeiss crafted the glass while ARRI engineered the housing. ARRI and Zeiss parted ways following the Master Primes era. In 1982, ARRI created the PL mount, which became the universal cinema standard. With the rise of large format, they released the LPL mount alongside the Signature Primes, their first lens developed entirely in-house. The company’s standing in the industry reflects decades of precise engineering, careful manufacturing, and sustained innovation.