LPL Mount is a 62mm bayonet developed by RED and ARRI with 17 contacts for full-frame cameras. It supports heavier lenses up to 15kg and enables faster metadata transmission than the smaller PL Mount.
Technical Details
The LPL Mount features 17 electronic contacts for metadata transfer between lens and camera. The inner diameter is 62 mm with a material thickness of 4 mm made of anodized aluminum. The mount supports lenses up to 15 kg in weight and transmits focus, zoom, and aperture data with a latency under 2 ms. Three precision-milled titanium screws serve as reference points for exact positioning. The system tolerates temperature fluctuations from -40°C to +60°C without loss of function.
History & Development
RED Digital Cinema developed the LPL Mount in 2018 in response to the limitations of smaller mounts on large-format sensors. The system was first used in the RED MONSTRO 8K VV camera. In 2019, ARRI adopted the standard for the ALEXA LF and Mini LF, creating cross-manufacturer compatibility. Sony integrated the LPL Mount into the FX9 in 2020, expanding its reach into the broadcast sector.
Practical Use in Film
Christopher Nolan's "Tenet" (2020) utilized ALEXA LF cameras with LPL Mount and ARRI Signature Prime lenses for the characteristic depth of field in the IMAX sequences. The larger flange focal distance allows for more complex lens designs with less vignetting on full-frame sensors. Steadicam operators benefit from improved balance due to the more central center of gravity. The quick lens changes reduce setup times by an average of 30 seconds per change compared to screw-mount systems.
Comparison & Alternatives
In contrast to the PL Mount (52 mm diameter, 11 contacts), the LPL Mount offers 19% more optical aperture and extended metadata transfer. The Canon EF Mount (54 mm diameter, 44 mm flange focal distance) achieves similar diameters but with a different electronic architecture. The Sony E-Mount (46.1 mm diameter, 18 mm flange focal distance) is suitable for adapters due to its short flange focal distance but does not achieve the mechanical stability of the LPL system. For full-frame productions over 4K, the LPL Mount is standard, while the PL Mount continues to dominate in Super35 formats.