Ari Wegner

Fast cinema prime lenses (T1.3) originally designed for low-light 35mm film production, with a warm, organic rendering.

Bausch & Lomb cinema primes introduced in the early 1960s as the successor to the original Baltars, with a maximum aperture of T2.3. Became an industry standard through the 1970s on films like The Godfather, All the President's Men, and Paper Moon. Single-coated optics produce veiling glare and rainbow flares.

ARRI's Super 16mm production camera, introduced in 2006. Built with PL mount compatibility shared with ARRI's 35mm cameras, it supports frame rates from 1 to 75 fps (up to 150 fps in the HS variant) and runs below 20 dB(A) at 24 fps for sync-sound work. The viewfinder and video assist operate independently, allowing fast changeovers for Steadicam or remote operation.

The ARRI/Zeiss Ultra Prime lenses are a set of 16 cinema prime lenses ranging from 8mm to 180mm, first introduced in 1999. Most focal lengths open to T1.9, and the lenses are designed as a lighter-weight optical match to the ARRI/Zeiss Master Primes. They feature PL mounts, robust mechanical construction, and consistent color and contrast across the full set.

ARRI's Super 35 format digital cinema camera, announced in June 2022. Features a 4.6K sensor (4608 x 3164) with ARRI's REVEAL Color Science, measuring 17 stops of dynamic range. Records up to 120 fps in formats including ARRIRAW and Apple ProRes.

The Angenieux Optimo 24-290mm is a 12x cinema zoom lens introduced in 2001, featuring a constant T2.8 aperture with no ramping across the full zoom range. It uses an internal focus design that maintains constant length and minimizes focus breathing, with Super 35 image coverage and a PL mount. Replaced by the Optimo Ultra 24-290mm.