A brand new glass by ARRI Rental has been introduced. These are two series of large format lenses: ALFA Anamorphic and Moviecam spherical. Let’s read the story behind this new piece of glass. 

ARRI Rental’s new development

ARRI Rental has developed two new and exclusive large-format lens series: ALFA and Moviecam. The ALFA large-format anamorphic was inspired by collaboration with Greig Fraser ACS, ASC. The Moviecam large-format spherical lenses combine vintage glass with high-performance new housings. All lenses were developed and built by the global ARRI Rental lens team, which was also responsible for the company’s acclaimed DNA lenses for full-frame and 65mm cinematography. Both series are available worldwide—exclusively through ARRI Rental, which means you can’t purchase them – but only rent them.

ALFA anamorphic

The ARRI Rental ALFA lens set comprises eight lenses ranging in focal length from 40mm to 190mm. According to ARRI Renal, like the DNA lenses, the ALFA evolved out of artistic collaborations with filmmakers looking for new ways to tell stories and convey emotions. The ALFA is a fast glass (T2.5) for most focal lengths, solidly built, and delivers a uniquely characterful anamorphic look for a large format.

The robust, purpose-designed lens housings still contain Master Anamorphic glass but are accompanied by other bespoke optical elements and modifications that combine to create a look that is entirely new.

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Look & feel

Overall, the ALFAs have a softer, more textured feel than Master Anamorphics, while still rendering all of the detail inherent to the larger format. Out-of-focus areas are more characterful and deconstructed, with enhanced edge fall-off contributing to the stunning bokeh. Point source highlights are livelier, with slightly more conspicuous halation.  Check out the ALFA London showreel below:

The modifications we built into the ALFAs brought out an entirely new dimension in the Master Anamorphics, with a nice vignette of softness around the edges but a super-sharp center that we could degrade if required.

Cinematographer Greig Fraser ACS, ASC

2x anamorphic squeeze for large format

ARRI Rental emphasizes that the bigger digital negative of large-format serves to accentuate the emotive image characteristics of a 2x anamorphic squeeze. In short, the anamorphic look is more pronounced, and with it, the cinematic feel. In this sense, ARRI Rental claims that anamorphic large-format should be considered a new format – one that can make a bold and exciting contribution to visual storytelling.

Born from the Master Anamorphic

The original idea behind ALFA lenses emerged from ARRI Rental’s longstanding relationship with cinematographer Greig Fraser ACS, ASC, who was also a key collaborator on the DNA lens program. In response to Fraser’s request for fresh large-format anamorphic options, ARRI Rental and ARRI worked together to modify sets of Master Anamorphic lenses. As well as adapting them to cover the larger format, ARRI Rental technicians customized the lenses internally in pursuit of specifically requested image attributes. Fraser comments: “The modifications we built into the ALFAs brought out an entirely new dimension in the Master Anamorphics, with a nice vignette of softness around the edges but a super-sharp center that we could degrade if required”. Further prototyping of the ALFA lenses took place with the input of German cinematographer Nikolaus Summerer. Out of these collaborations, and extensive R&D within ARRI Rental, the specifications for a production series of ALFA lenses were defined. The robust, purpose-designed lens housings still contain Master Anamorphic glass but are accompanied by other bespoke optical elements and modifications that combine to create a look that is entirely new.

Moviecam lenses

The ARRI Rental Moviecam lenses combine vintage glass and a cinematic backstory with modern, high-performance lens housings. Impressively compact and lightweight given their full-frame coverage, they come in 11 focal lengths from 16 mm to 135 mm and boast a T2 stop across most of that range.

Following the original Moviecam design, ARRI Rental’s lens engineers have built the same 1970s optics into new lens housings.

Modernization of the 1980s look

The Moviecam lenses were first produced in the 1980s, using extremely high-quality donor glass dating from the 1970s. In the 1990s, ARRI acquired the Moviecam company and incorporated some of its camera technologies into the ARRICAM ST and LT, which were—and remain—the most advanced 35 mm motion picture film cameras ever produced.

While cameras were the focus of ARRI’s Moviecam takeover back in the 1990s, a quite different benefit has been pursued in the 2020s by ARRI Rental: the Moviecam lenses. Recognizing the growing appeal to digital filmmakers seeking a vintage look, ARRI Rental has created a large number of consistent Moviecam sets, to be offered across all of its global territories. Following the original Moviecam design, ARRI Rental’s lens engineers have built the same 1970s optics into new lens housings.

In terms of look, the Moviecams sit somewhere between the Canon K-35 and DNA LF vintage lens series, thereby widening creative options for large-format filmmakers.

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The vintage aesthetic

Overall, the Moviecams are characterized by their combination of a vintage look with highly practical ease of use. Aside from the 100 mm and 135 mm at T2.8, all of the lenses are T2, though the 60 mm goes a stop further to T1.5, offering an additional option for low-light situations and bokeh-enriched portraits. Optical performance is consistent throughout the range, making it a great choice for cinematographers who want a vintage aesthetic but also complete freedom to explore all focal lengths without creating work for themselves in post.

Look & feel: Combination of Canon K-35 and DNA LF

In terms of look, the Moviecams sit somewhere between the Canon K-35 and DNA LF vintage lens series, thereby widening creative options for large-format filmmakers. Despite their significant resolving power, the Moviecams retain a gentle and natural feel, with attractive focus fall-off. Flare handling is interesting and characterful, but not over-lively or troublesome to control. German cinematographer Christian Rein has used prototype Moviecam lenses on a series for Netflix and an upcoming movie, commenting: “I like the quality of the vintage Moviecam glass, which looks very organic and soft, but without losing detail or drawing attention to itself. The Moviecams are very forgiving on the skin. The roundness of the lenses is outstanding, the bokeh looks very naturalistic, and if they flare, it doesn’t look as technical as with other lenses.”

Check out the Moviecam mountain showreel:

I like the quality of the vintage Moviecam glass, which looks very organic and soft but without losing detail or drawing attention to itself.

Cinematographer Christian Rein

Compatibility with lens data workflows

Both the ALFA and Moviecam series are LPL-mounted and incorporate LDA chips for efficient lens data workflows, making them suitable even for VFX-heavy productions. The lens housings are manufactured in-house at ARRI Rental, incorporating all of the lens development team’s experience creating and customizing diverse optics for clients.

Rental only

The ALFA and Moviecam lenses are available exclusively through ARRI Rental facilities worldwide. You can contact ARRI Rental for more details.