PANAPANAVISIONVISIONHIGH DEFINITION PRIMO DIGITALTM IMAGING>

+ P ANAVISI

In 1997, and announced the 24P system in order for him to shoot the Sony HDW-F900 24P camera. For their collaboration on the development of a : Episode 2. We knew, from 45 starters, the Panavised camera received a 24P digital high definition camera suitable for years of experience, that a complete imaging heavy duty front plate and , along use by filmmakers to create big screen system approach was the only way for tradi- with a prism block modified to work with our motion picture image quality. Shortly after- tional crews to make a seamless transi- specially designed Primo DigitalTM lenses. The ward, asked Sony and tion into digital production. With this in mind, system now accommodates most of our Panavision to accelerate the development of we made a number of modifications to standard film camera accessories as well as

TM new accessories designed exclusively for Primo digital .

PRIME AND ZOOM LENS FOCAL LENGTHS , RATIOS AND FEATURES 35mm Film Cine 1.85:1 12.5 15 17.5 20 25 35 50 62.5 67.5 87.5 180 210 280 Anamorphic Extraction Cine 2.4:1 25 30 35 40 50 70 100 125 135 175 360 420 560

2/3" CCD * HD 16:9 5 6 7 8 9.510 14 20 25 27 35 72 105 112

*field of view dependent on picture extraction with extenders 4 5 7 10 14 20 35 T1.8 T1.8 T1.6 T1.6 T1.6 T1.6 T1.6 ~ 70-320 T5.3

FISH PRIMES EYE ~ 50-225 T3.8

6-27 T1.8 4.5X ~ 35-160 T2.7

25-112 T1.9 4.5X

8-72 T1.9 9X

9.5-105 T1.6 11X ZOOMS

OPTICAL MECHANICAL ERGONOMIC

High contrast at full aperture Precision linear bearings Dual focus, zoom, iris scales Very low veiling glare Direct drive systems (no gears) Individually calibrated scales Low lateral color Low static & dynamic friction Expanded focus scales Low ghosting Minimal backlash & slop Linear iris scales Low distortion Ultra smooth movements Optimal zoom scale markings Flat field Stable boresight Compatible with Panavision accessories Color balanced High reliability One matte box, prime or zoom Colorimetry filter (drop-in) High durability Resolution/contrast filter (drop-in) Ease of service Consistent image quality through focus & zoom ON HIGH DEF INITION

In addition to the mechanical modifications to the camera, a unique optical pre-filter gives you better color matching with film emulsions and enhanced resolution for blue screen effects cinematography. Last, but not least, we designed the new ULTRAVIEW® viewfinder for studio and handheld cine-style use. It presents a 2 times larger image along with a greater diopter range. When Panavision accepted the challenge lenses employ state to create optics for to be of the art opto- used for Star Wars: Episode 2, “create” was the mechanical compo- operative word since even the finest existing nents, such as ultra cine lenses would not be up to the task. precision linear bear- Because of the small size of the ings, exotic glasses, 2/3" CCD sensor—less than half the size of a finely ground aspherical surfaces and high sub-pixel accuracy of focus, zoom, and 35mm film frame—almost every optical efficiency anti-reflection coatings (up to 12 lay- aperture data. Furthermore, the Panavision parameter would have to exceed the perform- ers), in very compact, lightweight packages. system philosophy of compatibility and stan-

1 ance of the best cine lenses by 2 /2 times. Rather than treat each zoom lens design sepa- dardization between cameras, lenses, and The results of our effort is the Primo rately, Panavision has developed its Primo accessories continues and is expanded in the DigitalTM Lens System. DigitalTM zoom lenses together so that they Primo DigitalTM lens series. Primo Digital™ prime and zoom lenses properly address customer needs. We began Star Wars: Episode 2 was photographed fully incorporate the optical, mechanical and with two slightly overlapping medium ratio 4.5x with our 11:1 and 4:1 Primo DigitalTM zooms. ergonomic characteristics of their Academy zooms which cover wide angle to telephoto Since then, we have developed and produced Award® winning cine predecessors. All Primo focal lengths of 6-27mm and 25-112mm with three additional zooms and six primes to build DigitalTM lenses permit selective control of col- a 20x total focal length range. Then we added the growing series of Primo DigitalTM lenses. orimetry and resolution/contrast via insertable a 9x larger ratio 8-72mm zoom to accommo- Panavision is committed to continuously lens filters (worldwide patents pending). date virtually all shooting scenarios. All Primo developing our Digital Imaging System in Additionally, these filters provide a constant DigitalTM lenses are optimized for maximum close collaboration with our clients, just as effect through focus and zoom unlike conven- image quality at fast maximum apertures of we have done with our film systems over the tional filters placed in front of or behind T1.6-1.9 (F1.45-1.75), thus enabling depths last 45 years. Now your HD project will the lens. of field similar to 35mm cine formats. For benefit from the same dedication to To maximize versatility and ensure visual effects and CGI work the lenses are customer service and superior image quality optimal image quality, Primo DigitalTM available with integral encoders for real-time that is the hallmark of Panavision. THE ONLY LENS SERIES

OF ZOOMS

AND PRIMES

SPECIFICALLY DESIGNED

FOR

24P HIGH-DEFINITION

CINEMATOGRAPHY

Woodland Hills 818.316.1000 Hollywood 323.464.3800 Orlando 407.363.0990 Chicago 773.267.1500 Wilmington 910.343.8796 Dallas 972.929.8585 New York 212.606.0700 Toronto 416.444.7000 Vancouver 604.291.7262 Melbourne 011.613.9646.3044 Sydney 011.612.9436.1844 Brisbane 011.617.5588.6543 Wellington 011.644.384.4191 Auckland 011.649.378.9492 London 011.44.208.839.7333 Manchester 011.44.161.872.4766 Shepperton 011.44.1932.572440 Glasgow 011.44.141.221.5175 Dublin 011.353.12.860811 Paris 011.331.4813.2550 Marseille 011.334.91.21.43.14 Hong Kong 011.85.2.2338.6311 Tokyo 011.81.3.3280.2101