ARRI ULTRA 16 User manual

Ultra 16 Lenses
A Complete Set of Modern
Super 16 High Speed Primes

2
SUPER FAST CLOSE FOCUS
The Super 16 Renaissance
Continuous advances in lenses, lm stock and postproduction technologies
have elevated the Super 16 lm format to new levels of image quality and
production efciency. Super 16 is now routinely used for standard and high
denition television productions, feature lms, commercials and documen-
taries, and with stunning results. By shooting Super 16, productions gain
many of the advantages of shooting lm - the lm look, its unsurpassed
exposure latitude, natural color reproduction, variable camera speeds,
ramps, proven archivability and the fact that lm is the only globally ac-
cepted standard format - at affordable production costs. The small size and
light weight of Super 16 equipment has the extra benet of easy portability
for fast-paced production environments.

3
ARRI | Ultra 16 Lenses
Main Features
n Complete Set of Nine Close Focus
Super 16 Primes
· 6, 8, 9.5, 12, 14, 18, 25, 35 & 50 mm
n High Speed - T1.3
· for complete control over depth of eld
· for shooting in low or available light
· for natural looking images
· for fast paced production environments
· for tight lighting budgets
n Highest Optical Performance
· high contrast and resolution
· T* XP coating ensures are resistance
· image geometry free of distortions
even at wide angles
· minimized chromatic aberration
· minimal breathing
n Smooth & Robust Mechanics
n Matches other ARRI Lenses
· same size & ergonomics as Ultra Primes
· Super Color Matched to Ultra Primes,
Master Primes, Variable Primes &
Lightweight Zoom LWZ-1
The Art of Ultra 16
The art of cinematography is closely tied to the art of creating
the cinematographer's tools. The art of successful lens design
has been advanced with a new, complete set of high speed
close focus lenses: the Ultra 16 lenses. Like the Master Primes,
the Ultra 16 lenses combine high speed with outstanding
optical performance. With a widest stop of T1.3 they create
shallow depth of eld and allow shooting on tight lighting
budgets or under severe time pressure. Equaled by no other
Super 16 lenses in optical performance, they join the other
ARRI lenses in elevating the Super 16 image to its highest
possible quality.
All nine Ultra 16 lenses (6, 8, 9.5, 12, 14, 18, 25, 35, 50
mm) cover the full Super 16 format and are fully compatible
with the optical quality, color balance and ergonomics of the
other ARRI lenses. The Ultra 16 lenses are the perfect compan-
ions to the new Super 16 cameras, the ARRIFLEX 416,
416 Plus and 416 Plus HS.

4
High Speed
The speed of the new Ultra 16 lenses is a super fast T1.3, which allows the crea-
tion of a shallow depth of eld, a look that is often sought after in other formats.
Especially for wide angle lenses in Super 16, a maximum aperture of T1.3 helps
in creating a cinematic look. In addition, T1.3 facilitates shooting on tight lighting
budgets or under a lot of time pressure, common in TV drama or independent fea-
ture lms. The fast speed is one of the outstanding features of these new lenses,
unmatched by any other Super 16 cine lens.
Optical Quality
Fast lenses are nothing new, but cinematographers used to pay dearly for high
speed with reduced optical performance and a greater propensity to aring. The
Ultra 16 lenses, like the Master Primes, change all that by combining fast speed
with outstanding optical performance at all T-stops across the whole focus range.
This previously unattainable goal was made possible through new manufacturing
techniques, the use of exotic glass materials and large diameter aspherical and
radically shaped spherical glass surfaces. The Ultra 16 lenses exhibit high con-
trast, high resolution, almost no chromatic aberration (color fringes) and a great
resistance to aring. They are designed as close focus lenses, and so retain their
outstanding optical qualities even at minimum object distances.
Incorporating aspherical glass surfaces in a lens design requires ultra-high pre-
cision in manufacturing and a complex holographic measuring process which was
developed specically for the Master Primes, now beneting all new ARRI lens
designs. The aspherical glass surface located close to the iris inside the 12, 14, 18
and 25 mm Ultra 16 lenses helps in reducing spherical aberration (the inability to
focus all light rays from a point source onto a point on lm). The aspherical front
surface of the 6, 8 and 9.5 mm keeps the image free of geometrical distortions;
straight lines stay straight, from innity to close focus.
CINEMATIC QUALITY FOR SUPER 16

5
ARRI | Ultra 16 Lenses
A shallow depth of eld is an important narrative tool
for the cinematographer, and a feature sought after by
other formats for its cinematic quality.

6

7
ARRI | Ultra 16 Lenses
T* XP Anti Reex Coating
The new T* XP multi-layer anti-reex coating reduces ares and internal reec-
tions and creates a pleasing, gentle color balance. Compared to conventional
coatings it has a better transmission and a more uniform performance from
optical center all the way to the edges, resulting in higher contrast and deeper,
richer blacks.
The lens' internal construction in combination with the T* XP coating
ensures that they can easily handle tricky lighting situations like strong back-
light, sunsets or car headlamps. The round iris opening leads to organic looking,
pleasing out-of-focus highlights, and careful optical design ensures only minimal
breathing.
Radical Spherical Lens Surfaces
Old-style wide angle lenses are usually larger than their longer companions.
The 6, 8 and 9.5 mm Ultra 16 lenses, however, have a revolutionary small form
factor. This is made possible through a large diameter aspherical surface on
the front and a radically shaped spherical surface with a very strong curvature
on the inside. Radical spherical surfaces are cutting edge technology; they are
difcult to grind, tricky to polish and demand precise attention during coating.
Mastering these manufacturing techniques brings the reward of incomparable
optical performance at substantially reduced weight.
Front element of the 6 mm Ultra 16 lens
Large diameter aspherical surface
Radical spherical surface
CUTTING EDGE TECHNOLOGY

8
Ultra 16 Lenses Match Perfectly
Like all other modern ARRI lenses, the Ultra 16 lenses have been Super Color
Matched. Their optical characteristics and color balance are not only optimized
for a pleasing color balance on modern lm stocks, but they are also precisely
matched to each other and the other ARRI lenses. The Ultra 16 lenses can be easily
intercut with Master Primes, Ultra Primes, Variable Primes and the Lightweight
Zoom LWZ-1, so the cinematographer is able to concentrate on creating a look
rather than matching lenses in post.
Lens Ergonomics
All Ultra 16 lenses are of the same size, and have matching focus and iris barrel
positions for fast and comfortable usage on the set. All nine also have the same
95 mm front diameter as the Ultra Primes.
The high contrast and resolution of the Ultra 16 lenses,
in combination with modern lm stocks, make even
wide shots look great in Super 16.
MATCHING WIDE ANGLES

9
ARRI | Ultra 16 Lenses
Ultra 16 lenses have been equipped with a blue
ring and yellow scale markings to distinguish
them from the Ultra Primes.
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The illustration shows the horizontal angle of view
for the Ultra 16 lenses for the Super 16 format.
ANGLE OF VIEW

10
Name Type Aperture Close focus (1) Length Front diameter Weight Horiz. angle of view
(lens mount to front) Super 16 (2)
Ultra 16 T1.3 / 6 mm Distagon T* XP T1.3 to T16 0.20 m / 8“ 91.6 mm / 3.6“ 95 mm / 3.7“ 1.0 kg / 2.2 lbs 90.22°
Ultra 16 T1.3 / 8 mm Distagon T* XP T1.3 to T16 0.30 m / 12“ 91.6 mm / 3.6“ 95 mm / 3.7“ 1.0 kg / 2.2 lbs 75.83°
Ultra 16 T1.3 / 9.5 mm Distagon T* XP T1.3 to T16 0.30 m / 12“ 91.6 mm / 3.6“ 95 mm / 3.7“ 1.0 kg / 2.2 lbs 66.34°
Ultra 16 T1.3 / 12 mm Distagon T* XP T1.3 to T16 0.30 m / 12“ 91.6 mm / 3.6“ 95 mm / 3.7“ 1.0 kg / 2.2 lbs 55.32°
Ultra 16 T1.3 / 14 mm Distagon T* XP T1.3 to T16 0.30 m / 12“ 91.6 mm / 3.6“ 95 mm / 3.7“ 1.0 kg / 2.2 lbs 48.17°
Ultra 16 T1.3 / 18 mm Distagon T* XP T1.3 to T16 0.30 m / 12“ 91.6 mm / 3.6“ 95 mm / 3.7“ 1.2 kg / 2.6 lbs 37.88°
Ultra 16 T1.3 / 25 mm Distagon T* XP T1.3 to T16 0.30 m / 12“ 91.6 mm / 3.6“ 95 mm / 3.7“ 1.2 kg / 2.6 lbs 27.82°
Ultra 16 T1.3 / 35 mm Planar T* XP T1.3 to T16 0.35 m / 14“ 91.6 mm / 3.6“ 95 mm / 3.7“ 1.1 kg / 2.4 lbs 20.46°
Ultra 16 T1.3 / 50 mm Planar T* XP T1.3 to T16 0.40 m / 16“ 91.6 mm / 3.6“ 95 mm / 3.7“ 1.2 kg / 2.6 lbs 14.76°
Technical Data
(1) Close focus is measured from the lm plane.
(2) Horizontal angle of view for a Super 16 camera aperture
(DIN 15602 and ISO-5768-1998, aspect ratio 1:1.66, dimensions 12.35 mm x 7.5 mm / 0.486" x 0.295").
T* XP is the trademark for the improved Zeiss anti-reex lens coating that reduces
veiling glare and other reections. XP stands for extended performance.
All data subject to change without notice.
Ident. Numbers
Ultra 16 T1.3 / 6 mm with meter focus scale K2.47560.0
Ultra 16 T1.3 / 8 mm with meter focus scale K2.47561.0
Ultra 16 T1.3 / 9.5 mm with meter focus scale K2.47562.0
Ultra 16 T1.3 / 12 mm with meter focus scale K2.47563.0
Ultra 16 T1.3 / 14 mm with meter focus scale K2.47564.0
Ultra 16 T1.3 / 18 mm with meter focus scale K2.47580.0
Ultra 16 T1.3 / 25 mm with meter focus scale K2.47581.0
Ultra 16 T1.3 / 35 mm with meter focus scale K2.47582.0
Ultra 16 T1.3 / 50 mm with meter focus scale K2.47583.0
Ultra 16 T1.3 / 6 mm with feet focus scale K2.47565.0
Ultra 16 T1.3 / 8 mm with feet focus scale K2.47566.0
Ultra 16 T1.3 / 9.5 mm with feet focus scale K2.47567.0
Ultra 16 T1.3 / 12 mm with feet focus scale K2.47568.0
Ultra 16 T1.3 / 14 mm with feet focus scale K2.47569.0
Ultra 16 T1.3 / 18 mm with feet focus scale K2.47584.0
Ultra 16 T1.3 / 25 mm with feet focus scale K2.47585.0
Ultra 16 T1.3 / 35 mm with feet focus scale K2.47586.0
Ultra 16 T1.3 / 50 mm with feet focus scale K2.47587.0

11
ARRI | Ultra 16 Lenses
THE ART OF ULTRA 16
Name Type Aperture Close focus (1) Length Front diameter Weight Horiz. angle of view
(lens mount to front) Super 16 (2)
Ultra 16 T1.3 / 6 mm Distagon T* XP T1.3 to T16 0.20 m / 8“ 91.6 mm / 3.6“ 95 mm / 3.7“ 1.0 kg / 2.2 lbs 90.22°
Ultra 16 T1.3 / 8 mm Distagon T* XP T1.3 to T16 0.30 m / 12“ 91.6 mm / 3.6“ 95 mm / 3.7“ 1.0 kg / 2.2 lbs 75.83°
Ultra 16 T1.3 / 9.5 mm Distagon T* XP T1.3 to T16 0.30 m / 12“ 91.6 mm / 3.6“ 95 mm / 3.7“ 1.0 kg / 2.2 lbs 66.34°
Ultra 16 T1.3 / 12 mm Distagon T* XP T1.3 to T16 0.30 m / 12“ 91.6 mm / 3.6“ 95 mm / 3.7“ 1.0 kg / 2.2 lbs 55.32°
Ultra 16 T1.3 / 14 mm Distagon T* XP T1.3 to T16 0.30 m / 12“ 91.6 mm / 3.6“ 95 mm / 3.7“ 1.0 kg / 2.2 lbs 48.17°
Ultra 16 T1.3 / 18 mm Distagon T* XP T1.3 to T16 0.30 m / 12“ 91.6 mm / 3.6“ 95 mm / 3.7“ 1.2 kg / 2.6 lbs 37.88°
Ultra 16 T1.3 / 25 mm Distagon T* XP T1.3 to T16 0.30 m / 12“ 91.6 mm / 3.6“ 95 mm / 3.7“ 1.2 kg / 2.6 lbs 27.82°
Ultra 16 T1.3 / 35 mm Planar T* XP T1.3 to T16 0.35 m / 14“ 91.6 mm / 3.6“ 95 mm / 3.7“ 1.1 kg / 2.4 lbs 20.46°
Ultra 16 T1.3 / 50 mm Planar T* XP T1.3 to T16 0.40 m / 16“ 91.6 mm / 3.6“ 95 mm / 3.7“ 1.2 kg / 2.6 lbs 14.76°

This Ultra 16 product brochure (K5.40457.0) is published by Arnold & Richter Cine Technik, April 01, 2008 © ARRI/2008
Technical data and offerings are subject to change without notice. All rights reserved. Without any warranty. Not binding 04/2008. ARRI is a registered trademark of Arnold & Richter Cine Technik GmbH & Co. Betriebs KG.
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