arri master primes
MORE S35 SPHERICAL PRIMES
ARRI MASTER PRIMES
ALL S35 SPHERICAL S35 ANAMORPHIC S35 ZOOM FF SPHERICAL FF ZOOM FF ANAMORPHIC SPECIALTY
TECHNICAL DATA
| FOCAL LENGTH | APERATURE | CLOSE FOCUS | FRONT DIAMETER | WEIGHT (lbs) |
|---|---|---|---|---|
| 12mm | T1.3 | 16" | 156mm | 6.4 |
| 16mm | T1.3 | 14" | 114mm | 4.8 |
| 18mm | T1.3 | 14" | 114mm | 4.8 |
| 25mm | T1.3 | 14" | 110mm | 5.1 |
| 32mm | T1.3 | 14" | 110mm | 5.1 |
| 35mm | T1.3 | 14" | 136mm | 4.8 |
| 50mm | T1.3 | 20" | 136mm | 5.9 |
| 65mm | T1.3 | 2'3" | 136mm | 5.7 |
| 75mm | T1.3 | 2'9" | 136mm | 6.2 |
| 100mm | T2 | 3'6" | 136mm | 5.7 |
OVERVIEW
PUSHING PRIME BOUNDARIES
Arri Master Primes emerged from a collaboration between ARRI and Carl Zeiss to push the boundaries of prime lens design. With a generous T1.3 aperture, they are renowned for controlling aberrations to an exceptional degree, producing sharp, high-contrast images with minimal breathing.
HISTORICALLY REVERED
Their color rendition is neutral yet nuanced, preserving subtle tonal shifts and delivering consistent results across the entire focal range. Master Primes have played a key role in large-scale, visually exacting productions—Emmanuel Lubezki famously relied on them for their cleanliness and control, and they’ve contributed to the polished aesthetic of films like The Revenant and Gravity, helping achieve intricate low-light and natural-light cinematography with remarkable fidelity.