Personalize your large-format lenses.

The extensive detuning and personalization that was pioneered with Prime DNAs for 65 mm cinematography informed the look of DNA LFs for full frame. It is a balanced and characterful look, full of life and gentler than many modern lenses. Focus fall-off is natural and pleasing, highlights are mellow, bokeh is attractive, and the flare characteristics offer great scope for creativity, responding organically to direct light sources.

While Prime DNA lenses for the larger ALEXA 65 format can be used on full-frame cameras, only the central part of the image circle is utilized. This eliminates some of the interesting image elements at the edges and corners of the DNA frame, which are so revered by filmmakers. This is why we offer DNA LF lenses that are purpose-made for the full frame sensor size.

2019 04-17a DNA LF - Series (1)

DNA LF features

Personal image-making and a unique look
Following the success of DNA for 65 mm, we developed a set of DNA LF lenses for the smaller sensor size of the ALEXA LF system, comprising re-housed vintage optics with a new multi-blade iris for circular bokeh.

Characterful, and still great for VFX
Robust housings and uniform lens rings make DNA LF lenses practical, characterful optics, while built-in lens metadata chips provide real-time data that makes them simple to work with even on VFX-heavy productions.

Calibrated, repeatable tuning 
Special internal elements can be customized to your artistic preferences in ways that can be accurately recorded, re-set, and repeated at any major ARRI Rental facility.


In your own words

Alex 3

Cinematographer Alex Disenhof ASC ("The Lord of the Rings: The Rings of Power")

They are my favorite prime lenses. I love the fact that you have all the modern mechanisms that allow us to shoot fast or lightweight...For me, trying to visually realize the story, they provide this roundness to the image that is hard to explain.

end ecu

Cinematographer Paul Yee ("Reality")

The DNA LFs are effortlessly beautiful. They add character and texture without being too sharp, and the swirly cat-eye bokeh brings a painterly quality to the image. I love how the wider lenses allow you to be so physically close to a face without distorting it; they are incredibly intimate. 

The Dig (1)

Cinematographer Mike Eley BSC ("The Dig")

They had just had that sort of slight period feel to them which I think also fitted our story very well...I knew that the wide lenses would be particularly popular on our film; I think it was the 29 mm that became the workhorse lens, and the 21 mm was used a lot.

Meet Cute

Cinematographer John Matysiak ("Meet Cute")

The way the DNAs reproduced skin tones and the way they handled faces and fall-off were huge selling points...We really fell in love with how imperfect they were at times, but never in a distracting way that interfered with the overall look, or the performance of the actors.

DNA credits


Smile 2

Image_Credits_Baby Reindeer

Baby Reindeer


Furiosa: A Mad Max Saga

Image_Credits_3 Body Problem

3 Body Problem


Tracker (Season 1)

Technical data

16 mm
21 mm
25 mm
29 mm

Lens mount








T2 - T16

T2 - T22

T1.5 - T16

T2 - T22

Close focus 

33 cm / 13"

20.3 cm / 8"

25.4 cm / 10"

30.5 cm / 12"

Front diameter

114 mm / 4.49"

114 mm / 4.49"

114 mm / 4.49"

114 mm / 4.49"

Weight (lens only)

1.1 kg / 2.4 lb

1.28 kg / 2.82 lb

1.22 kg / 2.69 lb

1.2 kg / 2.64 lb

* LDM-2 chip carries LDA metadata and is compatible with LDS-2


Get in touch

2019 01-16 DNA LF 50 mm - pers 0000
Be a part of the DNA story...