Arri PL

Arri PL
Name	PL mount
Maker	ARRI
Introduced	1980s
Type	Bayonet lens mount
Flange distance	52 mm

Arri PL

The PL mount is a professional cine lens mount developed for high-end motion picture production, widely adopted across the film and television industries. It serves as an industry-standard interface between cinema cameras and lenses used by cinematographers, camera assistants, and rental houses on productions ranging from independent features to blockbuster films. The mount's robustness and precision have made it a common choice on sets involving complex rigs, visual effects units, and broadcast workflows.

Overview

The PL mount was created by ARRI to provide a rugged, repeatable connection between cine lenses and camera bodies used by cinematographers such as Roger Deakins, Emmanuel Lubezki, Wally Pfister, and crews on productions from Star Wars to The Revenant. It competes with other mounts used by companies like Panavision, RED Digital Cinema, Sony, and Canon. Rental houses such as Panavision (company), Arri Rental, and Technicolor stock extensive PL-mount lens inventories including models by Zeiss, Cooke Optics, Leica Camera, Angénieux, and Fujinon. Festivals and awards organizations including the Academy of Motion Picture Arts and Sciences frequently showcase films shot on PL-mounted optics.

Design and Specifications

The mount features a large-diameter bayonet and a 52 mm flange focal distance engineered for mechanical stability essential on productions by studios like Warner Bros., Universal Pictures, Paramount Pictures, and Walt Disney Studios Motion Pictures. It uses a four-bayonet lug pattern and a positive locking mechanism familiar to camera technicians on sets for television series such as Game of Thrones and The Crown. Precision manufacturing standards are maintained by manufacturers including ARRI, Carl Zeiss AG, and Cooke Optics Ltd to support high-resolution sensors in cameras from ARRI Alexa, RED KOMODO, Sony Venice, Canon Cinema EOS, and Blackmagic Design. PL-mount lenses often include mechanical aperture control and standardized lens mounts used during complex VFX workflows on films like Inception and Avatar.

Lens Mount Compatibility and Variants

Several variants and adapters extend compatibility with formats from companies such as Panavision (company), Fujifilm, Nikon Corporation, Sigma Corporation, and Leica Camera AG. The mount’s mechanical interface allows for adapters to Canon EF and Micro Four Thirds systems used by filmmakers on projects with mixed camera packages, while preserving flange distance and registration for optical performance in visual effects work by houses like Industrial Light & Magic and Weta Digital. Third-party manufacturers including Metabones, Redrock Micro, and Hawk-Woods produce adapters and modified mounts for specialized shoots for networks such as HBO, Netflix (service), and Amazon Studios.

Use in Film and Television Production

Cinematographers and camera departments on productions at studios like Sony Pictures, 20th Century Studios, and Lionsgate value PL-mount lenses for consistency across camera packages during long shooting schedules on location at sites such as New York City, Los Angeles, London, and Vancouver (city). PL optics are preferred for anamorphic work, used by cinematographers on films like Blade Runner 2049 and The Grand Budapest Hotel, and for HDR and Dolby Vision workflows employed by streaming platforms including Hulu, Disney+, and Apple TV+. The mount is standard in camera rental configurations for commercials produced for agencies like Wieden+Kennedy and BBDO Worldwide and for live events covered by broadcasters such as BBC, CNN, and NBC.

Historical Development and Adoption

Introduced in the 1980s by ARRI, the mount evolved alongside camera systems from manufacturers like ARRI, Panavision (company), RED Digital Cinema, and Sony as digital cinematography emerged in the 2000s. Its adoption accelerated with the proliferation of digital cinema cameras used on award-winning projects recognized by institutions such as the Academy Awards and the British Academy of Film and Television Arts. Industry standards groups and guilds, including the Society of Motion Picture and Television Engineers and the British Society of Cinematographers, have referenced PL-mounted workflows in technical papers and educational programs. The mount’s longevity is linked to collaborations among lens makers like Cooke Optics, Zeiss, and Angénieux and camera manufacturers during periods of technological transition seen in developments at NAB Show and IBC (conference).

Accessories and Adapters

A broad ecosystem of accessories supports PL-mount workflows from companies like ARRI, Anton/Bauer, Tilta, and SmallRig. Follow-focus units, matte boxes, lens gears, and motorized lens control systems used on productions by directors such as Christopher Nolan and Ridley Scott are designed for PL lenses. Adapters and electronic mounts from firms including Metabones and Novoflex enable integration with mirrorless cameras by Canon Inc., Sony, and Fujifilm Holdings Corporation. Calibration tools and test charts from suppliers and standards bodies such as X-Rite, Image Systems AB, and SMPTE facilitate lens testing during pre-production and post-production at labs like Deluxe Entertainment Services Group and Technicolor.

Category:Camera mounts