Arri Signature T1.8 (21,25,29,35,47,58,75,95,150,200mm)
- ARRI Signature Primes are known for capturing warm, smooth skin tones, with exceptionally soft bokeh and delicate flares
- Ranging from 12 mm to 280 mm, the lens series features 16 focal lengths; the widest assortment of large-format lenses available
- Signature Primes were used on high-profile productions, including “1917,” “Gunpowder Milkshake,” and “Outlander (Season 5)”
Known for capturing warm, smooth skin tones, with exceptionally soft bokeh and delicate flares, the ARRI Signature Prime lenses are the first full range of large-format lenses designed specifically for digital cinematography. They are the broadest range of large-format lenses available, with 16 focal lengths ranging from 12 mm to 280 mm. The Signature Primes cover all image circles, up to 46 mm, making them compatible with any ARRI or third-party camera with an LPL mount.
In a recent interview with ARRI, award-winning cinematographer Roger Deakins CBE, ASC, BSC explained, “the image that the ALEXA LF and the Signature Primes produces, seems to me, more like what my eyes see than anything else I have experienced so far.”
Since their launch, the ARRI Signature Prime lenses have been used on the set of high-profile feature films and television series including “1917” with Roger Deakins CBE, ASC, BSC, “Emily in Paris” with Steven Fierberg ASC, “Just 1 Day” with Chris Doyle HKSC, “Outlander (Season 5)” with Stijn Van der Veken ASC, SBC, and “The Invisible Man” with Stefan Duscio ACS. Cinematographer Adam Kimmel ASC has also used the Signature Primes on commercials for Audi, MG, Mercedes-Benz, and Jeep. Designed to work flawlessly in the most extreme on-set conditions, the Signature Primes feature a fast T-stop of T1.8 and rapid focus roll-off, creating an increased sense of depth and separation.
“ARRI Signature Primes are rich with a new type of character that plays to the strengths of immersive display technologies. They are modern lenses with a timeles