Introduction to the ARRI SIGNATURE PRIMES
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Introduction to the ARRI SIGNATURE
PRIMES
The ARRI SIGNATURE PRIME lenses are part of a complete
large-format system that meets and exceeds modern production
requirements. Based around a large format 4K version of the
ALEXA sensor, the system comprises the ALEXA LF camera,
ARRI Signature Prime lenses, new LPL lens mount and PL
adapter. These system elements have been designed to take
fullest advantage of the enlarged sensor.
Accompanying the ALEXA LF are 16 large-format ARRI
SIGNATURE PRIME lenses, ranging from 12 mm to 280 mm and
fitted with the ARRI LPL mount. While the ARRI 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 the 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 incorporating
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.
A crucial element of the new system is the LPL lens mount, with
dimensions optimized for large format sensors. A wider diameter
and shorter flange focal depth allows the ARRI SIGNATURE
PRIMES and all future large format lenses 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, so the ARRI
SIGNATURE PRIMES can be used for large format and Super
35. In addition, the LPL mount is being licensed to other lens
manufacturers, creating a new universal standard.
When comparing the full frame format with the Super 35 format,
a conversion factor has to be considered for one focal length to
get the same field of view on an ALEXA LF as for a certain focal
