Known for capturing warm, smooth skin tones, with exceptionally soft bokeh and delicate flares, Arri’s Signature Prime lenses are the first full range of large-format lenses designed specifically for digital cinematography.
Arri said the lenses have 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.
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.
Designed to work in the most extreme 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.
The look of the Arri Signature Prime lenses can also be customized using their detachable Magnetic Rear Filter Holder. It allows cinematographers to create personalized looks without permanently tuning, and thus damaging, the lenses.
From glass elements that can mimic vintage lenses to fishing line, which can enhance bokeh and flaring, the Signature Prime’s Magnetic Rear Filter Holder allows for endless configurations.
You might also like...
In terms of new broadcast cameras, if the recent virtual IBC convention is any indication of how the industry is supporting broadcast and TV studio customers, buyer confusion reigns supreme. Gone are the days of one-camera-fits-all applications.
“‘Chris,’ she said, ‘it’s about an order of nuns who’re protecting the world.’”
Now the CRT is history, we have to justify the retention of gamma on its performance as a perceptual compression codec. That requires its effect on human vision to be considered.
Director of photography John Christian Rosenlund has at least a three-decade history with director Bent Hamer. Their most recent collaboration, The Middle Man, depicts a town in the northern United States during a post-industrial depression. It’s perhaps not a s…
Before pandemics and the downsizing at traditional, broadcast news operations, many news and non-fiction DOPs were already assuming a significant role in post-production. Whereas frame rates, f-stops, and the character of our lenses, once formed the backbone of our expertise…