ARRI Announces 2 New Lens Lines to Cover ALEXA 65's Giant Sensor

ALEXA 65 with a Prime DNA LensCredit: ARRI
ARRI revealed two new lines of lenses at Camerimage this year for its ALEXA 65s.

The ALEXA 65 has a massive sensor. The 54.12 mm x 25.58 mm active image area is even bigger than the gate of ARRI 765 70mm film camera; it allows for the presence of 6560 x 3100 photosites while maintaining the image quality for which the smaller sensor ALEXA is famous. However, most cinema lenses are only designed to cover Super 35mm at most, with a sensor size of 24.89 mm x 18.66 mm, and don't have anywhere near the image circle to cover a sensor that large.

Since its launch, ARRI has made two lines of lenses available for rent: the Prime 65 line (eight modern lenses designed specifically for work with the ALEXA 65) and the Vintage 765 line (a set of 11 lenses designed and built in the late '80s for working with the ARRI 765 film camera, and still frequently used on both film and digital productions). 

At the cinematography festival Camerimage this year, ARRI released two new lines of lenses for the ALEXA 65: the Prime 65 S line and the Prime DNA line. These two lines added 15 new lenses, bringing the total available options to 34. 

ALEXA 65 Prime S Single Lens 35 mm focal lengthCredit: ARRI

The Prime S line is a seven-lens series designed for a consistent softer look with lens contrasty images. The line is compatible with the ARRI Lens Data System (LDS), which records lens focus, iris, and, when applicable, zoom data, along with the image file. This metadata is extremely useful for VFX workflows involving composites, where artists can use the data to expedite their process and make it more accurate.

ALEXA 65 mm Prime S lineCredit: ARRI

The Prime DNA line of lenses is designed to have more personality and to be customized to the needs of a cinematographer for a particular project and a specific set of optical goals. 

ARRI ALEXA 65 mm Prime DNA 80mm T1.9 lensCredit: ARRI
Already in use on the upcoming productions Breathe and Mary Magdalene, shot by Robert Richardson and Greig Fraser, respectively, the DNA line should offer more character in the image than the traditionally clean, crisp image reproduction we associate with the standard ALEXA 65 Prime glass.

ALEXA 65 Prime DNA Lens lineCredit: ARRI

All ALEXA 65 products are currently rental only. Get in touch with Arri Rental for more information.

Tech specs for Prime S

  • Full ALEXA 65 mm sensor coverage
  • ARRI Lens Data System (LDS)
  • All T.28 or faster
  • 90mm has 16" close-focus 
    ALEXA 65 Prime S Lens ChartCredit: ARRI

Tech specs for Prime DNA

  • Full ALEXA 65 mm sensor coverage
  • Guided by cinematographer input, customized by ARRI technicians
  • 80 mm T 1.9 available for low light work
    ALEXA 65 Prime DNA Lens ChartCredit: ARRI

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Your Comment


Pani still has the best lenses for this sensor. So odd panavision went the RED sensor and UX. I mean there's some obvious reasons (competition, Lightiron being friends with RED), but Alexa still has the most cinematic image in the digital world. Saw some footage the other day on vimeo of the RED sensor inside DXL and the sensor keeps getting those weird clipped highlights in the bokeh and didn't seem to have the low noise floor that the Alexa SXT or Alexa65 produces

November 16, 2016 at 9:11PM


Dude, nobody believes you more, you're full of bullshit !

November 18, 2016 at 2:14AM


That's very odd, considering only the Helium sensor gets those clipped highlights (due to the new color science not having been released yet), and the DXL uses the VistaVision Dragon sensor. We all know the Dragon doesn't have the same low noise floor as the Alev3 sensor so that it was noisy makes perfect sense.

November 23, 2016 at 1:23PM

Oscar Stegland

EDIT: "Tech specs for Prime S" section needs the aperture changed from "T.28" to

November 17, 2016 at 6:23AM

Clark McCauley