So I recently bought ARRI Signature Primes

[rand thompson]

ARRI Signature Primes Rear Filter Holder





By ARRI

Create your very own look: the ARRI Signature Primes have a magnetic net filter holder which makes it easy to switch between various looks. See some exciting options in this video.

 

[rand thompson]

Probando el sistema Large Format de ARRI





By Camera & Light

Test de la Alexa LF y las ópticas Signature Prime realizado por el director de fotografía Rafael Bolaños Quesada AEC para la revista Camera & Light. Coproducción de VCI y FYM.
Lee el artículo completo en C&L 98: cameraandlightmag.com/revistas/camera-and-light-98

 

[rand thompson]

Rimi FooD TVC




By Janis Andrejevs

Dir: Roberts Kulenko
Dop: Jānis Andrējevs
Prod: Enter Creative
Shot on Alexa LF & Signature Primes

 

[rand thompson]

Signature test lenses. Technical review





By Alfonso Parra

Pruebas técnicas de las lentes prime Signature de Arri con Alexa LF
Technical review of Signature prime lenses of ARRI with Alexa LF

 

[rand thompson]

MARKUL - WITHOUT YOU



I believe this was shot with the Signature Primes as well with the Alexa LF





By Vitaly Zaytsev

Written and directed by ROHO
Cinematography: Vitaly Zaytsev
1st AC: Artur Urmanov
2nd AC: Maxim Kuznetsov
Gaffer: Alexey Korobkov
Colorist: Nikolay Smirnov
Production Designer: Denis Tokarev
Costume Designer: Marusya Renton
Shot on Alexa LF provided by Your Rental
Zagranitsa prod. 2018

 

[rand thompson]

Maxima Christmas Alexa LF Signature prime lenses





By Ieva Žičkaitė

 

[rand thompson]

ARRI large format camera system An excursion on architecture





By TransAudioVideo

ARRI introduce ALEXA LF e le lenti SIGNATURE PRIME un sistema completo di produzione cinematografica a largo formato che soddisfa e supera i requisiti di produzione moderni, offrendo una libertà creativa senza precedenti.

 

[rand thompson]

Signature lenses Test_Ráquira_Colombia







By Alfonso Parra



Footage starts at about the 00:56 second mark after the opening intro footage which last about 00:24 seconds

Estudio y análisis de las lentes prime Signature de ARRI con Alexa LF
Study and analysis of ARRI's Prime Signature lenses with Alexa LF

 

[Marc Wielage]

well they are no doubt sharp

We can always make them less sharp in post.

But of course, there are advantages to using diffusion during production, since then what-you-see-is-what-you-get. On the the minus side, you're stuck with that. But we can tweak a little more/less in post.

 

[Phil Holland]

Just a note to Rand, it's nice to lookup the videos and all that, but the back to back posts are a whole lotta spammy.

 

[rand thompson]

Alrighty then Phil.

 

[Misha Engel]

According to their typical methodology, nine others would need to also hand theirs over so they can average across 10 copies.

When ARRI Rental is as convident as Sony, this shouldn't be a problem https://www.lensrentals.com/blog/2019/03/sony-fe-135mm-f1-8-gm-early-mtf-results/

Anyway, I tested the two copies we had and sent a subtle note of congratulations to some friends at Sony. The note turned into a video conference with one of the designers of the lens and some phone calls that went like “you can write up those two copies” and “no, I only write up 10-copy sets”. This turned into Sony giving me to access to 8 more copies and permission release the test results early.

So, this write up is my usual MTF post; 10 new-from-box copies tested and averaged. They are Sony’s own copies, however, not the usual lenses we’ve bought off the shelf. I’ll repeat the test in 6 weeks when we get our own copies, but I have no reason to think it will be different. And just to be clear, Sony didn’t hover over me or approve my results; they’ll see this blog post for the first time exactly when you do.

 

[Mark Wuerthner]

When ARRI Rental is as convident as Sony, this shouldn't be a problem https://www.lensrentals.com/blog/2019/03/sony-fe-135mm-f1-8-gm-early-mtf-results/

If you're looking for a very technical test then the one by Afonso Parra is very thorough.

https://www.imago.org/images/pdfs/TECHNICAL/Signature_Test_lens_English.pdf

For comparison here are lenses that are 1/7 the costs of Signature Primes.

https://www.imago.org/images/pdfs/TECHNICAL/Test_Sigma_Primes_English.pdf

 

[Misha Engel]

If you're looking for a very technical test then the one by Afonso Parra is very thorough.

https://www.imago.org/images/pdfs/TECHNICAL/Signature_Test_lens_English.pdf

For comparison here are lenses that are 1/7 the costs of Signature Primes.

https://www.imago.org/images/pdfs/TECHNICAL/Test_Sigma_Primes_English.pdf

I stopped, after reading this

Together with the ALEXA LF we
are able to capture very beautiful images, far different to the clinically sharp and technically perfect
images captured by other lenses. These lenses are designed not for the digital sensor, but for the analog
world.

I'll stick to Lensrentals test where MFT is leading.

 

[rand thompson]

Supreme Prime vs Signature Prime: Chromatic Aberration




By ProVideo Coalition

 

[rand thompson]

ARRI Signature Prime and Cooke S7/i





By Dom Dycaico

A quick and dirty test to compare the two large format lenses.

ARRI Alexa LF open gate
ARRI Signature Prime 35mm and 75mm
Cooke S7/i 32mm and 75mm

assembled in DaVinci Resolve, UHD and then applied Log-C to REC 709 LUT.

Next time i'll use ND Filters or shutter angle to compensate for different iris opening, the look is affected by ISO. My bad

Thank you to #cmbfilmservices for the equipment.

 

[Jeffery Anderson]

ARRI Signature Primes Perspective Demo.

am I the only one that thinks that was shot in Santa Monica Library?

 

[rand thompson]

Jeffery,


I couldn't say either way, I'm on the other side of the country. Do you believe it is?

 

[rand thompson]

Steve The Horseshoer | 4k Arri Alexa LF + Signature Primes





By The Camera Department

Back in May of 2018 I spent some time with one of horse racings most notable horseshoers, Steve Norman. Shoeing horses is an extremely tedious task and one misstep can result in fatally injuring a million dollar horse.

---

This footage was shot on one of the first Alexa LF's in North America. It was recorded in Open Gate ProRes @ 60 fps on the 47mm and 25mm Signature Prime. No color correction has been applied, only Arri REC709 LUT applied. There is something very special about these lenses when paired with the Alexa LF. Be sure to watch in 4k!

Music By https://gillicuddy.bandcamp.com/

---

The Camera Department | Camera And Lens Rentals
www.thecameradept.com

Website http://www.thecameradept.com
Facebook http://www.facebook.com/thecameradepa...
Twitter http://www.twitter.com/TheCameraDept
Instagram http://www.instagram.com/thecameradep...

Filmed with a Arri Alexa LF and Arri Signature Primes.
Interested in renting this amazing setup? Email cincinnati@thecameradept.com for enquires or leave a comment!

 

[rand thompson]

ARRI Signature Primes 47mm | T2.5 | 18:9 | 4:3 | 4K | VMI Lens Test

ARRI Signature Primes 47mm | T2.5 | 2.35:1 | 4:3 | 4K | VMI Lens Test

ARRI Signature Primes 47mm | T2.5 | 2.35:1 | 3:2 | 6K | VMI Lens Test

ARRI Signature Primes 47mm | T2.5 | 18:9 | 3:2 | 6K | VMI Lens Test

By VMI




VMI hosted an Anamorphic and Large Sensor Event at CVP's Creative Experience Space, on Newman Street, Fitzrovia, London.

As part of this event we created a set of demonstration films as a comparison of popular anamorphic, and full frame lenses. Each shot was designed to show the differences in bokeh, DoF, levels of detail, and skin tone rendition. We also included some examples of anamorphic flare in other videos.

The camera used was the Sony Venice. We shot in both 6K, to allow for full frame 3:2 spherical capture, and 4K for the 4:3 anamorphic geometry. The camera was set to 500 ISO, 3200K, and captured at X-OCN LT.

The lighting was also at 3200K and consisted of
1x Gemini,
1x Sumo
2x 150w Dedo lamps.

Where possible the exposure was set to T2.5 on a Sekonic meter with no reference to histograms or other exposure aids.

LENS:
ARRI Signature Primes 47mm
T-Stop: 2.5

CAMERA:
Sony Venice
Sensor Format: 3:2, 4:3
Resolution: 6K, 4K
Aspect Ratio: 18:9, 2.35:1
ISO: 500
Colour Temp: 3200K

GRADE:
Rec709