ARRI Ultra Prime lens series (1998–2010) with 12 focal lengths (8–180mm), constant T1.9 aperture, and neutral color rendition for Super 35mm sensors.
Technical Details
Focal Lengths
| 8 | 10 | 12 | 14 | 16 | 20 | 24 | 32 | 50 | 85 | 135 | 180 |
|---|---|---|---|---|---|---|---|---|---|---|---|
| T2.8 | T2.1 | T2.0 | T1.9 | T1.9 | T1.9 | T1.9 | T1.9 | T1.9 | T1.9 | T1.9 | T1.9 |
| 0.25m | 0.25m | 0.25m | 0.25m | 0.28m | 0.28m | 0.30m | 0.35m | 0.45m | 0.80m | 1.00m | 1.50m |
| 2.2kg | 2.0kg | 1.9kg | 1.9kg | 1.9kg | 1.9kg | 1.9kg | 1.9kg | 2.1kg | 2.4kg | 3.2kg | 3.8kg |
| 105 | 105 | 105 | 105 | 105 | 105 | 105 | 105 | 105 | 105 | 105 | 105 |
| 180° | 130° | 111° | 104° | 92° | 77° | 64° | 52° | 35° | 21° | 13° | 10° |
| ◀━━━━━━▶ | ◀━━━━━━▶ | ◀━━━━━━▶ | ◀━━━━━▶ | ◀━━━━━▶ | ◀━━━▶ | ◀━━━▶ | ◀━━▶ | ◀━▶ | ◀▶ | ◀▶ | ◀▶ |
PL · 105mm Front · 300° Focus · S35
History & Development
ARRI developed the Ultra Prime series in the late 1990s in response to the increased demands of digital intermediate workflows. The first batch was released in 1998. The series complemented ARRI's existing Standard Prime lenses, offering higher speed with improved optical performance. ARRI ceased production in 2010, focusing on the Master Prime and later the Signature Prime series. Many Ultra Prime lenses were subsequently converted into Master Anamorphic lenses.
Practical Use in Film
Cinematographer Roger Deakins used Ultra Prime lenses for "No Country for Old Men" (2007), appreciating their neutral rendering and high sharpness. The series quickly established itself in commercial film production, where the consistent T1.9 aperture allowed for rapid lens changes without exposure adjustments. In low-light situations, the Ultra Primes offered significant advantages over older cinema lenses. Their precise mechanics and reproducible focus and aperture markings made them the standard for complex camera movements with follow focus systems.
Comparison & Alternatives
Compared to ARRI's Standard Primes, Ultra Primes offer one stop more light and more modern optical design. Zeiss Master Primes (T1.3) surpass them in speed but are significantly heavier and more expensive. Cooke S4/i lenses from the same era deliver warmer, more characteristic rendering, while Ultra Primes image more neutrally. Modern ARRI Signature Primes combine the neutrality of Ultra Primes with contemporary flare characteristics and also cover large format sensors. Ultra Primes remain a solid choice for Super 35mm productions.