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ARRI 60mm T1.9 Master Anamorphic Cinema Lens with PL Mount - Feet Measurement

The ARRI 60mm T1.9 is a 60mm f/1.9 cinema lens designed for PL Mount mount cameras. Check GearFocus for current availability, with buyer protection on every purchase.

ARRI 60mm T1.9 Master Anamorphic Cinema Lens with PL Mount - Feet Measurement

ARRI 60mm T1.9 Master Anamorphic Cinema Lens with PL Mount - Feet Measurement

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Lens Overview — ARRI 60mm T1.9

The ARRI 60mm Master Anamorphic is a prime cinema lens built for professional digital filmmaking on Super 35 sensor cameras. Sitting in the standard focal length range, this lens offers a maximum aperture of T1.9, giving cinematographers the ability to shoot in lower light conditions while achieving a shallow depth of field characteristic of anamorphic photography. Designed exclusively for PL Mount camera systems, it integrates seamlessly into established cinema camera ecosystems.

The lens is manual focus only, which is standard practice for high-end cinema production where precise, repeatable focus pulls are essential. Its anamorphic optical type is purpose-built to deliver the widescreen cinematic look associated with large-format theatrical presentation on Super 35 sensors. At 2.722 kg, the lens carries a substantial but manageable weight for a cinema prime of this caliber, and it is typically used mounted on a cinema rig with follow focus support.

There is no image stabilization, which is expected for a manual cinema prime intended for controlled production environments. The lens has no filter thread size listed in specifications, so filter use should be confirmed before purchase. Whether used on a studio stage or on location, the 60mm Master Anamorphic is a professional-grade tool designed for the demands of high-end cinema production.

Key Features — ARRI 60mm T1.9

2x Anamorphic Squeeze: Delivers the widescreen cinematic look with characteristic oval bokeh, horizontal lens flares, and a 2.39:1 aspect ratio when unsqueezed in post.

T1.9 Maximum Aperture: Allows shooting in lower light levels while achieving the shallow depth of field distinctive to anamorphic cinematography.

60mm Standard Focal Length: Equivalent to a roughly 40mm spherical lens in terms of field of view on Super 35, making it well-suited for dialogue scenes and general coverage.

Super 35 Coverage: Optimized image circle covers Super 35 sensors as used in ARRI, RED, and Sony cinema cameras without vignetting.

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

Manual Focus Design: Smooth, cinema-grade manual focus ring is built for precise, repeatable focus pulls in professional production workflows.

Lens Specifications — ARRI 60mm T1.9

ARRI 60mm T1.9 full specifications
SpecDetail
Use CasesVideo / Cinematography, Creative Effects
Lens TypeAnamorphic
FormatSuper 35
Zoom/PrimePrime
Focal Length60mm
Maximum Aperturef/1.9
Camera SystemCinema / Video
Lens MountPL Mount
AutofocusNo
Focus TypeManual
Image StabilizationNone
Weight2.722kg

Description — ARRI 60mm T1.9

The ARRI 60mm Master Anamorphic Cinema Lens is a prime lens with an anamorphic optical type, purpose-built for Super 35 format cinema cameras. It features a maximum aperture of T1.9, providing strong light-gathering capability and the capacity for shallow depth of field work that anamorphic cinematography is known for. The lens mounts via PL Mount, the industry-standard mount for professional cinema cameras, and is categorized for Cinema / Video camera systems.

Focus is entirely manual, aligning with professional cinema production workflows where follow focus systems and dedicated focus pullers are standard. The lens sits in the standard focal length range at a fixed 60mm, making it well-suited for dialogue scenes, portraiture-style shots, and general narrative filmmaking. Weighing 2.722 kg, it is built for use on a properly supported cinema rig.

There is no image stabilization, and no filter thread size is specified in the product data. The lens measurement scale is in feet, an important consideration for focus pullers working in imperial units.

Pros — ARRI 60mm T1.9

  • ✓Wide maximum aperture of T1.9 enables shooting in lower light and achieves shallow depth of field
  • ✓Anamorphic optical type delivers the distinctive widescreen cinematic look on Super 35 sensors
  • ✓PL Mount compatibility integrates directly with professional cinema camera ecosystems

Cons — ARRI 60mm T1.9

  • ✗No autofocus — manual focus only, requiring dedicated focus pullers on set
  • ✗No image stabilization, necessitating a stable rig or support system for smooth operation
  • ✗Filter thread size is not specified, complicating filter attachment planning

Videos — ARRI 60mm T1.9

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Frequently Asked Questions — ARRI 60mm T1.9

What camera mount does this lens use?+
This lens uses a PL Mount, which is the standard mount for professional cinema cameras. It is designed specifically for the Cinema / Video camera system category and is not compatible with DSLR or mirrorless mounts without an adapter.
What sensor format is this lens designed for?+
The ARRI 60mm Master Anamorphic is designed for the Super 35 lens format. Buyers should confirm their camera's sensor size matches this format to ensure full image coverage.
Does this lens support autofocus?+
No, this lens is manual focus only. This is standard for high-end cinema lenses, where manual focus pulling via a follow focus system is the professional norm on set.
What is the maximum aperture of this lens?+
The lens has a maximum aperture of T1.9, measured in T-stops as is standard for cinema lenses. This allows for good light transmission and shallow depth of field at wide open settings.
How heavy is this lens?+
The lens weighs 2.722 kg. For most cinema productions, it will be used on a lens support system or matte box rig rather than handheld, where this weight is well within manageable limits.
Does this lens have image stabilization?+
No, the specifications list image stabilization as None. Cinema productions using this lens would typically rely on stabilized camera rigs, gimbals, or Steadicam systems rather than in-lens stabilization.

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