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65 mm

Multiple lens series covering the largest format of them all, among them our customizable Prime DNA optics.

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

  • 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 T2.8 - T4.2
    30 / 40 / 50 / 60 / 80 / 100 / 110 / 120 / 150 / 250 / 350 mm

    Leica Thalia T2.2 - T3.6
    24 / 30 / 35 / 45 / 55 / 70 / 100 / 120 / 180 mm

  • 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

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

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In your own words

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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.
 

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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.
 

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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.

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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

2019-08-11

“After the Wedding” on ALEXA 65

In conversation with ARRI Rental, cinematographer Julio Macat ASC discusses his work with our exclusive digital 65 mm camera system on Bart Freundlich's new film.

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2019-06-21

“Men in Black: International”

Stuart Dryburgh ASC speaks about shooting the new MIB movie in 65 mm with ARRI Rental's exclusive ALEXA 65 camera and Prime DNA lenses.

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2019-04-01

ALEXA 65 gives Coca-Cola commercial a stand-out look

Producer Maddy Easton of Rogue Films in the UK discusses using ARRI Rental’s exclusive ALEXA 65 camera system on "Where Everyone Plays," a soccer-themed commercial shot by DP Mattias Rudh. 

More news