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ARRI Zeiss Ultra 16

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ARRI Zeiss Ultra 16 6mm T1.3
ARRI Zeiss Ultra 16 8mm T1.3
ARRI Zeiss Ultra 16 9.5mm T1.3
ARRI Zeiss Ultra 16 12mm T1.3
ARRI Zeiss Ultra 16 14mm T1.3
ARRI Zeiss Ultra 16 18mm T1.3
ARRI Zeiss Ultra 16 25mm T1.3
ARRI Zeiss Ultra 16 35mm T1.3
ARRI Zeiss Ultra 16 50mm T1.3

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ARRI Zeiss Ultra 16

Prime - Spherical - Super 16

product details

The ARRI/Zeiss Ultra 16 primes are the sharpest, most high-contrast lenses available for the S16mm format. They are small, lightweight, and have modern reliable mechanics. All the lenses have identical size and nearly identical weight, matched gear placement, and uniform 95mm fronts. Specifically developed for the Super 16mm format, they have a very fast T1.3 maximum aperture, allowing shallow depth of field, and the lenses are at peak performance even when shot wide open. They are often compared to Master Primes due to their unrivaled performance and extremely low amount of focus breathing. A wide range of nine focal lengths gives Super 16 filmmakers a complete toolkit for wide establishing shots, handheld coverage, and intimate close-ups, while maintaining consistency of look across the set: 6mm, 8mm, 9.5mm, 12mm, 14mm, 18mm, 25mm, 35mm, and 50mm. Available for rental or sub-rental at Cine Visuals.

Focal Length
T-Stop
Type
Format
Front Diameter
Lens Mount
Metadata
Iris Blades
Image Circle

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 Technical Specifications table. Not the same for all focal lengths.

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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 16

95 mm

–

0.20 m

2.20 lbs

1.00 kg

3.60"

91.60 mm

–

T1.3

Spherical

Super 16

95 mm

–

12"

0.30 m

2.20 lbs

1.00 kg

3.60"

91.60 mm

–

T1.3

Spherical

Super 16

95 mm

–

12"

0.30 m

2.20 lbs

1.00 kg

3.60"

91.60 mm

–

T1.3

Spherical

Super 16

95 mm

–

12"

0.30 m

2.20 lbs

1.00 kg

3.60"

91.60 mm

–

T1.3

Spherical

Super 16

95 mm

–

12"

0.30 m

2.20 lbs

1.00 kg

3.60"

91.60 mm

–

T1.3

Spherical

Super 16

95 mm

–

12"

0.30 m

2.60 lbs

1.20 kg

3.60"

91.60 mm

–

T1.3

Spherical

Super 16

95 mm

–

12"

0.30 m

2.60 lbs

1.20 kg

3.60"

91.60 mm

–

T1.3

Spherical

Super 16

95 mm

–

1'2"

0.35 m

2.40 lbs

1.10 kg

3.60"

91.60 mm

–

T1.3

Spherical

Super 16

95 mm

–

1'4"

0.40 m

2.60 lbs

1.20 kg

3.60"

91.60 mm

–

ARRI Zeiss Ultra 16

Image Fidelity & Focus

Ultra 16s were engineered to extract every bit of resolution out of the Super 16 frame. With outstanding optical performance, they deliver exceptional sharpness across the image circle with high contrast, ensuring a clean, detailed look that stands up to 35mm blow-ups and digital scanning workflows. Chromatic aberration is very well controlled, and geometric distortion is minimal, even on the ultra-wide 6mm and 8mm focal lengths. Focus falloff is smooth, with pleasing subject separation despite the smaller format’s naturally deeper depth of field.

Handling & Adaptability

Ultra 16s are compact and lightweight, ideal for handheld, Steadicam, and documentary work. They feature consistent gear positions, standardized front diameters, and reliable mechanical construction, making lens swaps efficient. Particularly useful for filmmakers shooting digital cameras with Super 16-sized sensors, like the Blackmagic Pocket Cinema line.

Flare & Bokeh

Flare behavior is disciplined, with modern coatings ensuring strong light control while allowing tasteful streaks under harsh light. Bokeh is neutral and slightly geometric, as the smaller aperture designs of the series limit creamy background blur, but they remain attractive in controlled conditions.

Image Circle

Ultra 16s cover the full Super 16 format.

Cinematic Heritage

Ultra 16s were designed in the late 1990s and early 2000s to maximize the imaging potential of the Super 16mm format. Ultra 16s have been used in countless productions, from music videos and television dramas to Academy Award–winning films. For example, Kathryn Bigelow’s The Hurt Locker (2008) used Super 16 cameras paired with Ultra 16s for intense handheld battle sequences, leveraging their portability and clarity.