ARRI Large Format zoom lenses: 24–75mm and 65–300mm, T2.8 constant, 95mm filter, 16-blade iris for creamy bokeh, optically matched to Signature Prime series.
Focal Lengths (Zoom)
| 24-75 | 65-300 |
|---|---|
| T2.8 | T2.8 |
| 0.60m | 1.95m |
| 3.7kg | 7.2kg |
| 95 | 95 |
| 74°–27° | 31°–7° |
| ◀━━━▶–◀━▶ | ◀━▶–◀▶ |
LPL · FF/LF · 300° Focus · 16 Iris Blades · /i Technology
Technical Details
Two zoom lenses for Large Format: 24-75mm and 65-300mm, both with a constant T2.8. 95mm front filter diameter, 300° focus ring, 16-blade iris for creamy bokeh. /i Technology for metadata transmission (LDS-2/Cooke /i). Optically matched to the ARRI Signature Prime series.
History & Development
ARRI announced the Signature Zoom series in 2019, three years after the successful launch of the Signature Prime series in 2016. The first 24-75mm lens hit the market in 2020, followed by the 65-300mm in 2021. The development was a response to the growing demand for Large Format productions and the need to enable rapid focal length changes while maintaining consistent optical quality. ARRI worked closely with rental houses and cinematographers to meet the practical requirements of modern film productions.
Practical Use in Film
The Signature Zooms are preferably used for handheld sequences and Steadicam shots where focal length changes are required without lens changes. Series such as "The Queen's Gambit" and "Mare of Easttown" utilized the lenses for their characteristic Large Format aesthetic with natural color rendition and smooth bokeh roll-off. The constant T2.8 aperture allows for consistently shallow depth of field, while the high resolution demands no compromises even in 4K/6K footage. Cinematographers particularly appreciate the flexibility without loss of quality in documentaries and run-and-gun productions.
Comparison & Alternatives
Compared to the Signature Primes, the Zooms offer more flexibility with minimally reduced resolution and greater weight. Canon CN-E Zooms or Fujinon Premista lenses cover similar focal length ranges but do not achieve the specific organic image characteristic of the ARRI lenses. Zeiss CZ.2 Zooms offer a sharper, higher-contrast alternative for productions that prefer a different look. For budget productions, filmmakers often opt for Sigma Cine Zooms, which are significantly cheaper but do not deliver the same Large Format coverage and color characteristics.