ARRI Rental launches DNA lens range for Alexa LF

ARRI Rental’s exclusive DNA lenses will soon become available specifically for the Alexa LF full-frame format. The new DNA LF lenses, which are being introduced at the 2018 Camerimage festival of cinematography in Poland, will initially be available in a series of nine focal lengths, ranging from 21 mm to 135 mm. Prototypes have already been put to use with Alexa LF cameras on the TV dramas Killing Eve (season two) and Catherine the Great, and on the movie Ironbark.

The 47mm DNA lens

The 47mm DNA lens

Originally developed for the 65 mm format of ARRI Rental’s ALEXA 65 camera platform, DNA is a unique concept in lens creation. In essence, it is technology born of relationships: vintage optics rehoused and customized in partnership with filmmakers, to reflect their artistic sensibilities.

The extensive detuning and personalization that was pioneered with the first generation of DNAs has informed the look of DNA LFs. It is a balanced and characterful look, full of life and gentler than many modern lenses. Focus fall-off is natural and pleasing, highlights are rendered in a mellow way, and the flare characteristics offer great scope for creativity, responding organically to direct light sources. New multi-blade irises have been built into every lens, providing consistent out-of-focus highlights and attractive bokeh.

While Prime DNA lenses for the larger ALEXA 65 format can be used on the ALEXA LF, doing so eliminates some of the interesting, imperfect elements at the edges and corners of the image, which are so revered by filmmakers. It therefore makes sense to offer DNA LF lenses purpose-made for the ALEXA LF, featuring a 49 mm image circle that is perfectly matched to the LF sensor.

DNA LF lenses will be available as part of ALEXA LF camera packages from ARRI Rental facilities worldwide, starting around the end of Q1, 2019.

Let us know what you think…

Log-in or Register for free to post comments…

You might also like...

Broadcast For IT - Part 12 - Lenses

In this series of articles, we will explain broadcasting for IT engineers. Television is an illusion, there are no moving pictures and todays broadcast formats are heavily dependent on decisions engineers made in the 1930’s and 1940’s, and in this art…

Articles You May Have Missed – June 20, 2018

Until now, 4K/UHD and high dynamic range (HDR), in many ways, has been little more than a science project, as manufacturers have struggled to convince production entities of the long-term practicality and viability. Fears of overly complex pipelines and…

Broadcast For IT - Part 11 - Sensors

In this series of articles, we will explain broadcasting for IT engineers. Television is an illusion, there are no moving pictures and todays broadcast formats are heavily dependent on decisions engineers made in the 1930’s and 1940’s, and in this art…

2018 NAB Show Highlights Complex State of the Industry

Following numerous private conversations and panel discussions at the recent 2018 NAB Show, it’s become clear that broadcasters are being challenged like never before to hold the line on CapEx spending while delivering more content across their linear platforms. Because o…

How to Be Effective as a One-Man Band

For years, I have written about the problems associated with trying to be a one-man band television reporter. Now, shooting alone has become the reality for many journalists. How does one balance so many disciplines at once and still do…