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ARRI 25mm T1.3 Master Prime Lens

The ARRI 25mm T1.3 is a 25mm f/1.3 cinema lens designed for PL Mount mount cameras. Check GearFocus for current availability, with buyer protection on every purchase.

ARRI 25mm T1.3 Master Prime Lens

ARRI 25mm T1.3 Master Prime Lens

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Lens Overview — ARRI 25mm T1.3

The ARRI 25mm T1.3 Master Prime is a professional cinema lens designed for Super 35 format cameras, built around a PL Mount interface that makes it a natural fit for high-end cinema and broadcast workflows. At a fixed 25mm focal length, this is a prime lens with no zoom capability, meaning every optical decision is made in service of image quality at this single focal length. The T1.3 maximum aperture is a notable strength, allowing cinematographers to work in lower light conditions and achieve meaningful subject separation without artificial manipulation.

This is a manual focus lens only — there is no autofocus system — which aligns with professional cinema production norms where focus pullers work with dedicated follow focus systems. Weighing 2,313 grams, it is a substantial piece of glass, reflecting the robust construction expected of cinema-grade optics intended for demanding production environments. The lens carries no image stabilization, which is standard for a cine prime of this class, as stabilization is typically handled at the camera or gimbal level on professional sets.

Classified under the Cine type and Camera System Cinema / Video, it is purpose-built for motion picture use rather than still photography applications. The focalLengthRange is listed as Standard, placing it in a versatile range for everyday cinematic coverage.

Key Features — ARRI 25mm T1.3

T1.3 Maximum Aperture: Exceptionally fast aperture allows shooting in low-light conditions and produces meaningful subject separation without artificial aids.

25mm Fixed Focal Length: A versatile wide-standard angle well suited to environmental portraiture, dialogue scenes, and general cinematic coverage.

PL Mount: Industry-standard cinema lens mount compatible with professional camera systems from ARRI, RED, Sony, and others.

Super 35 Coverage: Image circle designed to cover Super 35 sensors, the dominant format in high-end cinema and episodic production.

Manual Focus Design: Smooth, precise focus ring built for repeatable focus pulls when used with dedicated follow focus systems on professional sets.

2,313g Robust Build: Substantial construction reflects cinema-grade durability designed to withstand the demands of long-form professional production.

Lens Specifications — ARRI 25mm T1.3

ARRI 25mm T1.3 full specifications
SpecDetail
Use CasesStudio, Video / Cinematography
Lens TypeCine
FormatSuper 35
Zoom/PrimePrime
Focal Length25mm
Maximum Aperturef/1.3
Camera SystemCinema / Video
Lens MountPL Mount
AutofocusNo
Focus TypeManual
Image StabilizationNone
Weight2313g

Description — ARRI 25mm T1.3

The ARRI 25mm T1.3 Master Prime is a prime cinema lens with a fixed 25mm focal length designed specifically for Super 35 format cinema production. Built around a PL Mount, it integrates directly with the ecosystem of professional cinema cameras that rely on this industry-standard interface. The T1.3 maximum aperture provides excellent light-gathering capability, giving cinematographers the ability to operate in challenging lighting conditions and achieve subject separation through shallow depth of field.

As a manual focus lens with no autofocus, it is engineered for the professional cinema workflow where focus control is handled by dedicated operators using follow focus systems. There is no image stabilization built into the lens, consistent with cinema production practice where stabilization is handled at the rig or camera level. Weighing 2,313 grams, this is a robust, production-grade optic.

No filter thread size is specified, so users should verify front-of-lens filter compatibility before production. The lens is categorized under Cine type and Cinema / Video camera system, confirming its role as a dedicated motion picture tool rather than a hybrid photography lens.

Pros — ARRI 25mm T1.3

  • ✓Fast T1.3 maximum aperture enables shooting in lower light and shallow depth of field
  • ✓Fixed 25mm focal length in the Standard range suits a wide variety of cinematic compositions
  • ✓PL Mount compatibility aligns with industry-standard professional cinema camera bodies

Cons — ARRI 25mm T1.3

  • ✗No autofocus — requires dedicated focus puller or remote follow focus system
  • ✗No image stabilization, so stabilization must be managed externally
  • ✗At 2,313g, the lens is heavy and may require additional support rigging

Videos — ARRI 25mm T1.3

ARRI Zeiss Master Prime 25mm T1.3 — ShareGrid

Resources & Downloads — ARRI 25mm T1.3

Manuals & Guides

Frequently Asked Questions — ARRI 25mm T1.3

What camera mount does the ARRI 25mm Master Prime use?+
This lens uses a PL Mount, which is the standard mount for professional cinema cameras. It is the only mount listed in the specifications, so compatibility with other systems would require an adapter.
What sensor format does this lens cover?+
The ARRI 25mm Master Prime is designed for Super 35 format, as listed in the lensFormat specification. It is optimized for cinema cameras using that sensor size.
Does this lens have autofocus?+
No. The lens is strictly manual focus only, with autoFocus listed as false in the specifications. This is standard for professional cinema lenses, where focus is typically operated by a dedicated focus puller.
What is the maximum aperture of this lens?+
The maximum aperture is T1.3, as specified in the maximumAperture field. This is a T-stop measurement, which accounts for light transmission through the optics and is the standard measurement used for cinema lenses.
How heavy is the ARRI 25mm Master Prime?+
The lens weighs 2,313 grams according to the weight specification. This is a substantial weight typical of professional cinema prime lenses and should be factored into rig and support planning.
Does this lens have image stabilization?+
No. The imageStabilization field is listed as None. On professional cinema productions, stabilization is typically managed through gimbal systems, camera-body stabilization, or stabilized rigs rather than in-lens systems.

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