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Full frame

Modern and vintage lenses for full-frame cameras like the ALEXA Mini LF, including tuneable DNA LFs.

Large-format cinematography is a growing trend, with the majority of cameras offering a sensor around the same size as a 35 mm stills camera, commonly referred to as full frame. It is also very close in size to the old VistaVision format, pioneered by Paramount in the 1950s.

ARRI Rental carries a wide selection of lens series designed for the full-frame format. From ARRI's timeless Signature Primes, to vintage Canon K35s, to our own exclusive DNA LF lenses, manufactured in-house and customizable to the suit the artistic preferences of individual clients. 

Full-frame lens lists

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  • ARRI Rental DNA LF T1.5 – T2
    21 / 25 / 29 / 35 / 50 / 75 / 85 / 100 / 135 mm

    ARRI Signature Prime T1.8 – T2.5
    18 / 21 / 25 / 29 / 35 / 40 / 47 / 58 / 75 / 95 / 125 / 150 / 200 mm

    Canon CN-E T1.5 – T3.1
    14 / 20 / 24 / 35 / 50 / 85 / 135 mm

    Canon K35 T1.4 – T1.6
    18 / 24 / 35 / 55 / 85 mm

    Canon K35 High-Speed T1.3 – T1.5
    18 / 24 / 35 / 50 / 85 mm

    Cooke S7/i T2
    25 / 32 / 40 / 50 / 75 / 100 / 135 mm

    Tokina Cinema Vista T1.5
    18 / 25 / 35 / 50 / 85 mm

    Zeiss Supreme T1.5
    25 / 29 / 35 / 50 / 85 / 100 mm

  • Angenieux EZ
    22-60 mm T2.8 / 45-135 mm T3

    Fujinon Premista 28-100 mm T2.9

    Sigma 300-800 mm T5.6

    Zeiss Compact Zoom T2.9
    15-30 mm / 28-80 mm / 70-200 mm

A wide range of looks

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Vintage options

ARRI Rental DNA LF and Canon K35

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Modern options

ARRI, Canon, Cooke, Zeiss, and Tokina

DNA LF

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In your own words

Ben Kutchins

Cinematographer Ben Kutchins ("Jexi")

These new sets of DNA LF lenses keep the full character of the glass, most beautifully in the corners of the frame. 

John Guleserian

Cinematographer John Guleserian ("An American Pickle")

The 29 mm (DNA LF) is fantastic for deep-focus wide shots, but really shines when shot with a wider stop and focused closer to achieve a shallower depth of field. 

Full frame news

ARRI Rental_We Are The Wave_ALEXA LF_DNA_Ken Macdonald_1
2020-03-24

1st AC Ken Macdonald on "We Are the Wave"

Macdonald speaks to ARRI Rental about pulling focus on the German Netflix series, captured with ALEXA LF cameras and DNA LF lenses.
Emma.
2020-02-25

Shooting "Emma." in large format

Cinematographer Christopher Blauvelt talks to ARRI Rental about using ALEXA LF and Signature Primes for Autumn de Wilde's Jane Austen adaptation.
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2019-10-07

Vintage DNA LF lenses with ALEXA LF

Cinematographer Stuart Howell discusses how his use of ARRI Rental's exclusive DNA LF lenses affected his lighting and camerawork on the historical miniseries.
More news