ARRI Rental | 65 mm lenses

An integral part of the ALEXA 65 system is a range of exclusive 65 mm prime lens series specifically designed to cover the full image area of the sensor and do justice to the exceptional levels of detail it is capable of capturing. Through collaborations with cinematographers, ARRI Rental's range of full-coverage 65 mm lenses is continually growing.

65 mm lens lists

65 mm prime lens list

ARRI Rental Prime DNA T1.6 - T2.8
28 / 35 / 45 / 50 / 55 / 60 / 65 / 70 / 80 / 110 / 150 / 200 mm
ARRI Rental Prime 65 S T2.5 - T2.8
35 / 45 / 55 / 75 / 90 / 120 / 150 mm
ARRI Rental Prime 65 T2.2 - T4.5
24 / 28 / 35 / 50 / 80 / 100 / 150 / 300 mm
ARRI Rental Vintage 765 T2.1 - T4.2
30 / 40 / 50 / 60 / 80 / 100 / 110 / 120 / 150 / 250 / 350 mm
Leitz Thalia T2.2 - T3.6
24 / 30 / 35 / 45 / 55 / 70 / 100 / 120 / 180 mm
65 mm zoom lens list

ARRI Rental zooms
38-210 mm T6.3 / 50-110 mm T3.5 - T4.5 / 80-200 mm T 2.8 / 150-600mm T6.3
Hawk 150-450 mm T2.8
Zeiss Compact Zoom 100-280 mm T4

Exclusive ARRI Rental 65 mm optics

Prime DNA

Custom 65 mm format optics, tailored to your unique creative vision.

- An ever-evolving collection of lenses

- Customized by ARRI Rental and guided by cinematographer input

- Unusual image attributes and full of character

- Can be mixed and matched to create a bespoke set for specific looks

2021 PRIME DNA 65 mm - straight no shadow2

Prime 65 S

Complementing Prime 65, but faster and with a smoother personality.

- Seven higher-speed lenses, all T2.8 or faster

- Silky image with beautiful bokeh and slightly lower contrast

- ARRI Lens Data System (LDS) for lens metadata

Prime 65

Classic ALEXA 65 lenses: crisp, contrasty and characterful glass.

- Eight original Prime 65 lenses, using high-performance optics

- Housed in robust lens barrels with uniform front diameters and extremely smooth focus and iris operation

- ARRI Lens Data System (LDS) for lens metadata

Vintage 765

ARRIFLEX 765 lenses for a filmic look and gentle focus fall-off.

- Eleven original, vintage lenses from the late 1980s

- Beautiful, classic look with good contrast and gradual fall-off

- Full ALEXA 65 sensor coverage

Get in touch

Your story, your look, your lens choice...

Prime DNA

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In your own words

Photo By Elizabeth Fisher. Courtesy Sony Pictures Classics. — ATW_01278 copy

Cinematographer Julio Macat ASC ("After the Wedding")

My favorite lens for the wide angles became the (Prime 65) 28 mm, which is just a beautiful lens...it's a great story-telling lens.

Cinematographer James Laxton ASC ("If Beale Street Could Talk")

For me the DNAs were this lovely confluence...they had a vintage sensibility, but still had a way of expressing precision in a more modern fashion.

Cinematographer C. Kim Miles CSC ("Welcome to Marwen")

Our main lenses throughout were the Prime 65s...we were between 50 and 65 mm for the bulk of the show; they're the most cinematic focal lengths in the 65 format, to my mind.

Cinematographer Michael Fimognari ("Gerald's Game")

We felt that optically the Vintage 765 lenses were the perfect balance of a shallow, cinematic depth of field, without being too dreamy.

65 mm news

Cinematographer-Philippe-Rousselot-Without-Remorse-Tom-Clancy-Nadja-Klier-ARRI-Rental-ALEXA-65

Apr. 4, 2022

ALEXA 65 on "Without Remorse"

Havin used it on the "Fantastic Beasts sequel, cinematographer Philippe Rousselot AFC, ASC again turns to ARRI Rental's exclusive ALEXA 65 camera for Amazon's Tom Clancy thriller.