ARRI Large Format zoom lenses: 24-75mm and 65-300mm, T2.8 constant, 95mm filter, 16-blade iris for smooth bokeh, optically matched to Signature Prime series.
| 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
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.
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.
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.
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.
Ich schätze die durchgehend konstante T2.8-Blende, die mir bei wechselnden Brennweiten eine gleichbleibende Schärfentiefe garantiert. Der 300°-Fokusring ermöglicht präzise Schärfeverlagerungen auch bei schnellen Handheld-Sequenzen, und die /i Technology liefert mir exakte Metadaten für VFX-Arbeit und Color Grading.
Die Signature Zooms geben mir die Freiheit, spontan zwischen intimen Close-ups und weiten Establishing Shots zu wechseln, ohne die Kontinuität des organischen ARRI-Looks zu verlieren. Besonders bei emotionalen Szenen kann ich durch den sanften Bokeh-Verlauf die Aufmerksamkeit subtil lenken, ohne dass harte optische Übergänge die Zuschauer aus der Geschichte reißen.
Mit den zwei Signature Zooms decke ich 90% der benötigten Brennweiten ab, was meine Objektivmiete um etwa 40% reduziert im Vergleich zu einem kompletten Prime-Set. Die robuste Bauweise minimiert Ausfallzeiten, auch wenn die höhere Tagesmiete von 180-220€ pro Objektiv initial mehr kostet als einzelne Primes, rechnet sich das durch gesparte Wechselzeiten am Set.
1. Was beschreibt „ARRI Signature Zoom" am besten?
2. Zu welchem Department gehört „ARRI Signature Zoom"?
3. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
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