The 75mm Master Prime is one in a set of 16 from ARRI/Zeiss featuring excellent resolution, advanced contrast, almost no breathing, and a fast T1.3 aperture for achieving shallow depth of field. Ranging from 12mm to 150mm, the Master Primes offer the skin tones and color rendition for which Zeiss is noted, and are color-matched for consistency across the set. These lenses incorporate an iris with at least nine blades for cinematic-looking bokeh with distinct focus fall-off. Dual floating elements provide optimal close-focus performance while minimizing breathing when focusing. The advanced T*XP coating reduces reflections and glare while improving contrast.

Designed with aspherical elements for minimal chromatic aberration, the ARRI/Zeiss Master Primes provide optimal image quality and clean chroma-keying. High resolution is maintained in image corners even when the lens is used wide open and at close focus. Each lens features a PL mount and a built-in LDS system for transferring lens data to compatible cameras. The expanded focus scale has generous room for marks, and it sports fluorescent engravings for easier viewing in low-light settings. The focus ring has markings in both feet and metric; the ring may be reversed from one to the other by a qualified shop technician.

This 75mm Master Prime Lens features a 32" minimum focus distance, focus marks set in feet, a relatively light weight of 6.2 pounds, and a compact length of 8". This family of lenses feature consistent placement of focus, iris, and zoom rings for easier use with follow focus, zoom control, and F/I/Z wireless systems. Most of the lenses in the Master Prime family, including the 75mm, have a uniform 114mm front diameter, enabling the use of the same size matte box adapter, filter, etc.

Covers Super-35 Sensor Size    Fast T1.3 Aperture for Shallow D.O.F.    Virtually No Lens Breathing    Greatly Reduced Flare    32" Minimum Focus Distance    114 mm Front Diameter    Weighs 6.2 Pounds    PL Mount with LDS (Lens Data System)    Aspherical Elements / Minimal Aberration    Consistent F/I/Z Ring Positions

Superior resolution and contrast with virtually no breathing

Covers Super-35 sensors

Fast, maximum T1.3 aperture enables shooting in low light and produces shallow depth of field

Color-matched across the set

Aspherical elements for reduced chromatic aberration

PL mount with integrated LDS system for transferring lens data to compatible cameras

Relatively lightweight, compact form factor with 114mm front diameter

Related Questions and Answers

Q: 1. can i use Metabones ARRI PL Lens to Canon RF-Mount T Cine Speed Booster ULTRA 0.71x (EOS-R) ?

A: Since the rear element protrusions of the DZOFilm Arles FF/VV Prime Cine 5-Lens Set (ARRI PL) are less than 14.5mm, they should be compatible with the Metabones ARRI PL Lens to Canon RF-Mount T Cine Speed Booster ULTRA 0.71x (EOS-R); however we always recommend testing for confirmation.

Q: 2. Is it only marked in feet?

A: No, the DZOFilm Arles FF/VV Prime Cine 5-Lens Set (ARRI PL) can be easily switched from feet to meters.

Q: 3. Can these be converted to PL mount and would they cover a Monstro large format sensor?

A: No, the ZEISS Nano Prime 75mm T1.5 Cine Lens and all other lenses in the Nano Prime set cannot be modified to PL mount.

Q: 4. It says this kit comes with a set of EF adapters/shims (like the Vespids did). However, it lists those adapters as being compatible with “Vespid, Catta Acr and Gnosis lenses”. Will these lenses in fact adapt to an EF mount and be compatible with a BMPCC 6K Pro?

A: Yes, the DZOFilm EF-Mount Tool Kit for Vespid, Catta Ace, Gnosis Lenses, BH #DZOACC1MEF, is a compatible EF adapter for the DZOFilm Arles FF/VV Prime Cine 5-Lens Set (ARRI PL).

Q: 5. How are these compared to the Rokinon Xeen?

A: Cine lenses such as the Schneider Xenon and Rokinon Xeen share the attributes that are so needed in prime lens sets for movie production. Principally these are consistent physical size and consistent image quality. Inconsistent size slows down production and inconsistent image quality slows down post-production with a possible affect of the viewing experience. What differentiates the two brands essentially is that the Xeens are good quality while the Xenons are even better. If the budget is limited, go with the Xeens confident that you will get good results. If the budget is more generous, go with the Xenons. What you will get is superb design, build and image quality that you can feel and see. The Xenons will last for years in hard, 18 hour a day movie production.

Q: 6. What’s the size of the hard case?

A: The hard case included with the DZOFilm Arles FF/VV Prime Cine 5-Lens Set (ARRI PL) measures 590 x 500 x 320mm / 23.2 x 19.7 x 12.6" (L x W x H).

Q: 7. The Vespids could not be used with a Metabones speed booster. Will these work with one?

A: The compatibility of the DZOFilm Arles FF/VV Prime Cine 5-Lens Set (ARRI PL) with a Metabones speed booster would depend on the protrusion limit of your selected adapter. Generally, as long as the speed booster is compatible with protrusions of less than 14.5mm, all of the lenses should fit; however we always recommend testing for compatibility.

Q: 8. Can any of the Leitz Cine Lens mount, without an adapter, to the Leica SL or Leica S still cameras? If not natively, is there an adapter that will allow this.... and with the adapter attached, will it provide full autofocus?

A: To use a PL lens on a camera with a Leica L mount you will need a PL to L Mount Adapter, such as BH #NOLETPL from Novoflex. PL lenses in general are fully manual lenses, there is no auto focus on lenses like this. https://bhpho.to/2Opnqjl

Q: 9. I had the same question, “Is the case is included with the 5-lens kit?” When I ordered the 5-lens kit on 06/14/24 it was listed.

A: No, there is no case included in the DZOFilm Arles FF/VV Prime Cine 5-Lens Set (ARRI PL). Cases will be available at a later time.

Q: 10. How does the focal length of these lenses on a full frame body like the LF compare to master primes on super35mm?

A: This lens can cover a full frame sensor. If used on a camera that is Full Frame it will give you an 18mm view. If you use it on a camera that has a Super 35mm Sensor it will give you a 27mm field of view.