van-tage 1 ~ ~ ~ 2 3 ~ film hawk 1 ~ eyed 2 psu 3 1 ~ 2 3 4 cat·a·log 1 2 3 ~s
For you it´s an art. For us it´s a science.
About Vantage Film:
Vantage designs and manufactures lenses and digital tools to advance the art of filmmaking with cutting-edge equipment and technology. The company is headquartered in Weiden, Bavaria, and maintains rental facilities in Berlin, Paris and Prague.
Together the sites provide customers all over the world with Vantage’s unique Hawk Anamorphic Lenses and PSU-3 HD digital video assist systems. Also available are lenses from Angénieux, Cooke, Leica and Zeiss, Arri film and digital cameras and all the miscellaneous accessories that make a camera package a pleasure to work with.
Both the Hawk anamorphic lenses and the PSU video assist system received Cinec Awards and were used in major Hollywood and international productions, most notably George Lucas’s Star Wars Episode I.
Vantage Film presents
peter märtin. “If I feel it could be better, I make sure much the same way, the leading characters we’ll make it better.” Peter Märtin’s quality ethos and fierce dedication are driving factors behind Vantage’s success. of Vantage Film have their own tales to tell. He expects great things, both from his team and from Come and meet Peter Märtin and Wolfgang technology, and is personally committed to offering his Bäumler, the company founders, and the clients the absolute best solutions. directors that help them make Vantage Film one of the premier rental houses and producers of and has been fascinated by movies ever since his grandfather cine lenses and tools in the industry. They are Andreas Teichner, Jindrich Cipera, Alexander frustrated with malfunctioning or poorly organized equipment. He knew he could do better. Now, every product and every Their backgrounds vary, but they all share a service that Vantage Film offers is extensively analyzed to Clients can be 100 percent sure that they are receiving the most advanced lenses (anamorphic or spherical), cameras, or video assist systems when they choose Vantage. If cinematographers have their own ideas, Märtin is more than ready to enthusiast thrives on challenges, “We never say: so far, so good. There is always something more we can do.”
Peter Märtin Founder and Executive Director
Wolfgang Bäumler. “There was a time,” says Wolfgang Bäumler, “when I was torn between shooting films and designing the technology to shoot them.” In the meantime, the co-founder of Vantage Film has created a way to enjoy the best of both worlds. Wolfgang Bäumler and peter märtin At Vantage Film, he is an Executive Director and is responsible for the manufacturing of all the award-winning Hawk Anamorphic Cinec award 2014 Devising and producing a product that nobody else offers is what makes Wolfgang Bäumler’s day… “that and assembling Cinec award 2008 a product which depends on the single twist of a screw for perfection.” Cinec award 2004 In order to keep the feel of the set fresh in his mind, he now Cinec award: and then takes a few days off to work with a second or even Cinec award 2002 Cinec award 2000 Wolfgang Bäumler Founder and Executive Director p01_1115 contacts
VantaGE film HQ
andreas teichner.
Andreas Teichner Senior Director, Operations, Rentals & Key Accounts Tel +49 961 267 95 mobile +49 160 718 0446
alexander schwarz. Trespass,
24·7 mobile +49 151 528 822 81
Jim Bouchie.
Blade Runner. mobile +49 151 6246 0033 VantaGE Paris
alexander Bscheidl
Director, Paris 24·7 mobile + 33 6 78 22 14 70 VantaGE PraGuE
Jindrich cipera.
Director, Prague 24·7 m obile +420 602 561561 VantaGE BErlin
marco susic.
Marco Susic mobile +49 151 5683 4642 Vantage Cameras Vantage aCCessories ® ® ® 16 and all 35 mm cameras are available in anamorphic setup. Vantage Lenses ® ® ® ® ® ® ® ® ® ® ® ® ® ® Vantage grip ® ®
hawk 1 ~ eyed 2 anamorphics Hawk ~
WHY WE MAKE HAWKS THE WAY WE DO
If you want to design new lenses, you have to consider the characteristics our lenses, and all the parts come from Germany— most from within of the format for which it will be used. You have to separate problems 100 miles. Iris and focus rings are all in the same position. We have from what you want to protect or enhance. For example, if you are internal focusing (cams and cam followers). There are basically two front renovating an old church, you probably don’t want to do it too perfectly. diameters, one for the wide lenses in the V-Lite series and one for the Maybe you see an old stone wall, and you say, “It’s not perfect— but of medium and long ones. You can easily attach clip-on matte boxes, and course, that’s the beauty of it.” We are very deliberate about where there even if you over-tighten the matte box, it will still not bind the internal elements. You can interchange the focus scales rapidly, easily, and (at the top, bottom, and corners), matching lens sets, and so on. There is precisely. The connection of the PL mount to the lens is unique in the always room to improve, but, just as architects recognize what to keep Hawks. No screws directly penetrate the lens body. The PL mount is and what to preserve when working on an older structure, we design attached to an L-shaped stainless steel bracket that is held by a ring to and craft our lenses with the same understanding; the distinct character the lens, resulting in the sturdiest construction in the industry. of the anamorphic format must be preserved. The Hawk design is the only design that has parallax-free witness We design and build Hawk Anamorphic Lenses. Most lenses today marks on both sides. The focus ring and the barrel with the witness mark are well made. Following the same path of only making sharper and are on the same plane. We use a unique paint on the lens, which has become a powerful, new tool for a cinematographer. Of course, pearl blasting and anodizing. We then apply high-contrast, highly-visible sharpness is good to have, and Hawk lenses yellow paint to the engraved lens markings. The serial number is positioned prominently in but that is only part of the picture. When we started in the ‘90s, more than 40 for delivery notes. Plaques mounted on both years had already gone into development of sides of each lens unmistakably display the anamorphic lenses, but aspects of these lenses were still far from perfect. Lenses did not focus these details are designed to improve an closely enough; they were too big, and you assistant’s ability to work quickly could see focus falling off quite easily. We and effectively on or off the set. wanted to improve those things. Our custom-designed lens cases An anamorphic lens, with its “squeezing” hold both lenses and accessories. These cases are very small and are We try to keep that in our designs. When we designed for locations, studios, and see elliptical bokehs or slightly curved geometry, camera trucks, and the cases use minimal we don’t regard them as defects that have to be room on an assistant’s cart. These cases then eliminated. On the contrary, we understand that those are part of the language of anamorphic. If Camera crews want small cases, but shipping you photograph with spherical lenses, the image requires more foam, more protection, hence larger cases. A&J Cases in Los Angeles Anamorphic is like a roller coaster. When produces all our cases, and so far, they have built over 3500 cases for us. not be obsessing over line pairs in the very far corners A rental house is not a laboratory. If you have to of the screen. Hopefully, you are immersed in the story, open up a lens, it should not be sealed in a way dazzled by the widescreen cinematography, and that you would have to send it back to the factory embraced by the image. We have to recognize and for repair just to maintain tight tolerances. A lens accept that audiences love the many famous anamorphic designer should consider parameters appropriate to our business and avoid making overly complex classics, and those qualities are closely connected to lens design ensures that maintenance is easy for rental characteristics, such as the curvature or a little bit fall-off houses even with limited possibilities. In addition to primes, we make front anamorphic designers try to improve one of these lenses, they have to zooms. Rear anamorphic zooms (and primes) do not be careful not to improve everything. Otherwise, the distinct have oval bokehs or the classic look. Because the cylinders are at the rear, they stretch the image vertically The anamorphic look emphasizes the in-focus part of the in a process similar to using a 1.4x or 2x extender— image because there’s a larger separation from the out-of- but only on one axis. The image is already made by the focus, so the in-focus portion automatically looks sharper, crisper, and more appealing. The eye likes to be cued by because stretching takes place after the lens. You cannot what is in-focus and what’s not. If it’s Super 35 and shot in spherical, the eye may start to search for the area of maximum Hawks are all the same family of lenses. They are made sharpness, sometimes unsuccessfully. It’s not always a pleasant by one company— and one group of designers— us. That’s experience. But in anamorphic, the in-focus area is easy to see. The second why they match so well. Camera crews do not have to hand pick our characteristic is how the out-of-focus areas look. The bokeh is completely lenses so that the lenses match. Problems in matching occur with sensitive different with an anamorphic lens. The out-of-focus highlights are oval and designs and when lenses suffer from wear and tear, but the Hawk design are created by the curvatures of the anamorphic lens element. is highly robust, so every 50mm lens will be the same. This is also true A spherical lens photographs everything as it is and tries to reproduce for every 65 mm lens and so on. it as faithfully as possible. The anamorphic lens interprets reality. It tells We consider cinema lenses as tools for a rental business. Lenses are us how the reality might look, but it’s not recording the reality. Why is constantly shipped forth and back, and they have to be serviced by rental this format loved? Because of the organic look— not because things houses. We took that into consideration and developed a robust, not overly- have been corrected the way we expect them to be on spherical lenses. designed, straight-forward, mechanical concept for the Hawks. Once a lens When we make the Hawks, we improve certain parameters which we is manufactured and assembled, it will maintain its quality over its lifespan. feel are lacking, but we do not try to “improve out” some of the original We did not want our Hawks to look good on paper but give us trouble characteristics like curvature. Most of our lenses focus down to two feet, in manufacturing. We also did not want our lenses to run into problems remarkably close for anamorphics, and we have several lenses where while on productions because they could not be serviced easily. Preventing you can focus to the front glass element, yet all our lenses are designed downtime and delay on the set while providing cinematographers with to preserve that unmistakable anamorphic look. exciting anamorphic tools is our goal. We make Hawks to improve on Hawk is a family of lenses. Everything is assembled in our facility in the tradition of anamorphic lenses and provide cinematographers with the Weiden, about 1.5 hours north of Munich. We produce many parts for tools that help them do what they do best… create art.
Made in Germany by Vantage Film GmbH
p05_1115 True AnAmorphic Cinematic Quality for both – Film and Digital
Anamorphic lens systems are a favourite with of reasons: the large negative size of the anamorphic longer focal lengths; the elliptical blur which arises in the out of focus parts or even the barrel distortion of
difference between spherical lenses and anamorphic lens capability was systems is often forgotten: the way in which images are improved and sets a new standard for in one system: a longer focal length for the vertical part of the image and a shorter one for the horizontal part (2x focus mechanism or the 15 blade iris apertures this character is preserved over all generations: It is were developed for the sole purpose of pushing the Vantage continuously develops new products for anamorphic shooting and only recently expanded its production capacity to meet the ongoing heavy demand for ® a much larger sensor area (or a larger negative area) and Vantage Film has focused its efforts on de velop ing products which substantially advance anamorphic tech nology:
® Lenses were developed to be fully ®
Made in Germany by Vantage Film GmbH
p06_1115 HaWk® V-PLuS
Hawk V-Plus anamorphics build on the successes of the well-established Hawk V-Series. The following aspects make this series of lenses stand out:
Masking – Less Weight – Focus Scale – Improved Optics –
Made in Germany by Vantage Film GmbH
HAWK FRONT ANAMORPHIC ZOOMS combine the unique, cinematic visual characteristics of anamorphic prime lenses with the convenience and variable focal length of zoom lenses.
The anamorphic 2.40:1 format is widely considered to be in part because they were designed and built with the anamorphic element at the back end, behind the spherical elements. This adaptation was necessary because of the meant that the anamorphic elements could not wield their squeezed to the proper standard, but it lacked the ‘Scope traits cinematographers love to use in visual storytelling.
Cinematographers should have anamorphic zoom lenses that deliver the same performance and look as anamorphic primes. Unlike existing anamorphic zooms, the Hawk Front Anamorphic Zoom Lenses place the anamorphic The Hawk Front Anamorphic Zoom Lenses are built to the exacting, robust standards of all Hawk lenses. element in front of the spherical elements. The resulting image displays all the anamorphic blur, shallow depth of curvature and barrel distortion, and distinct planes of focus cinematographers expect from anamorphic primes. HAWK V-Plus 45-90 mm/T2.8 and 80-180 mm/T2.8 These lenses intercut seamlessly with The challenge demanded a smaller spherical zoom lens. the entire line of Hawk anamorphic primes. Vantage has brought their uncompromising technical standards, anamorphic zoom was dramatically decreasing the size of unparalleled design expertise, and precision manufacturing to this lens. The company’s policy of controlling and creating bear on this addition to the Hawk family of lenses. dividends once again. The resulting front anamorphic brings a number of advantages. Traditional rear anamorphic zoom arrangements sacrifice one stop; whereas, the Hawk design is neutral in terms of light loss. Therefore, all Hawk Front Anamorphic Zoom Lenses are T 2.8 –quite fast for an anamorphic zoom. The lenses also deliver excellent close focus ability, giving cinematographers tool with all the anamorphic qualities they would expect
Focal CfD Angle of View Stop Length m ft horizontal vertical
45-90 mm T2.8 - T16 0.75 2‘6“ 53.3°-29.2° 22.7°-12.4°
80-180 mm T2.8 - T16 1 3‘3“ 32.5°-14.7° 13.8°- 6.3°
Made in Germany by Vantage Film GmbH Hawk® V-Lite anamorpHics
Extremely small – extremely high image quality. The new range of Hawk® V-Lite Anamorphics are designed from scratch and are unique in the sum of their features.
eight primes are available: Hawk® V-Lite 28 mm / t 2.2 Hawk® V-Lite 35 mm / t 2.2 Hawk® V-Lite 45 mm / t 2.2 Hawk® V-Lite 55 mm / t 2.2 Hawk® V-Lite 65 mm / t 2.2 Hawk® V-Lite 80 mm / t 2.2 Hawk® V-Lite 110 mm / t 3 Hawk® V-Lite 140 mm / t 3.5
High performance optics – Although the current for adjustments during camera prep. The rental house Hawk lenses already perform exceptionally well, further can easily re-calibrate the distance scales without improvements have been achieved. The center of efforts disassembling the lens. The gear ring has been reduced in diameter in order to receive a more direct transmission contrast over the entire image. The manufacturing process of the follow focus and is therefore better protected from of the optical components has been further optimized in damage. The position of the follow focus has also been several aspects. The new lens set is fully matched to all moved back to the camera in order to optimize focusing. other Hawk Anamorphics. new labeling concept – A new labeling concept analog & Digital – Vantage uses telecentric designs for makes it easier to distinguish the different focal lengths. Every lens is marked clearly with the corresponding focal and digital cameras. length on both sides. Also the serial numbers have been constant t-stop – The engraved T-Stops on the Hawk no electronics – The new Hawk V-Lite Anamorphics Contrary to other lenses, there is no light loss while have no electronic components at all and their mechanical focusing. The maximum light transmission is maintained construction is extremely reliable. throughout the whole focusing range.
Less weight – The weight of every lens has been reduced up to 20%.
new pL-mount – The PL-Mount was redesigned in order to avoid camera.
new Focus scale – The new designed focus scale is ergonomically optimized with an equal parallax-free reading quality on both sides of the lens. The ease of reading has been improved using new engraving techniques. A high precision electromechanical/ opti cal projection system has been developed and is used for calibrating all focus scales. V-Lite distance scales are optimized
Made in Germany by Vantage Film GmbH
p09_1115 V-Plus/V-Lite Hawk Anamorphic® - Technical Data
Focal CfD Angle of View Weight Front Overall Min. Filter Lens Stop Length m ft horizontal vertical kg Ibs Diameter Length Size Hawk® V-Plus Anamorphics
V-Plus 35 35 mm T 2.2 - T 16 0.75 2‘6“ 65° 27.7° 5.3 11.7 156 mm 187 mm 6.6x6.6“ V-Plus 40 40 mm T 2.2 - T 16 0.75 2‘6“ 57° 24.3° 5.5 12.1 156 mm 202 mm 6.6x6.6“ V-Plus 50 50 mm T 2.2 - T 16 0.6 2‘ 49.6° 21.1° 3.7 8.1 125 mm 202 mm 4x5.65“ V-Plus 65 65 mm T 3 - T 22 0.35 1‘2“ 39.9° 16.7° 4.3 9.5 125 mm 252 mm 40.5 mm V-Plus 75 75 mm T 2.2 - T 16 0.6 2‘ 34.7° 14.8° 4.3 9.5 125 mm 238 mm 4x5.65“ V-Plus 85 85 mm T 2.2 - T 16 0.6 2‘ 31.4° 13.4° 4.4 9.7 125 mm 250 mm 4x5.65“ V-Plus 100 100 mm T 2.2 - T 16 1 3‘3“ 26.5° 11.3° 5.6 12.3 125 mm 325 mm 4x5.65“ V-Plus 120 120 mm T 3.5 - T 32 0.42 1‘5“ 21.2° 9° 5.6 12.3 125 mm 333 mm 40.5 mm V-Plus 135 135 mm T 3 - T 22 1 3‘3“ 19.8° 8.4° 5.4 11.9 125 mm 325 mm 4x5.65“ V-Plus 150 150 mm T 3 - T 22 1 3‘3“ 17.5° 7.5° 5.3 11.7 125 mm 323 mm 4x5.65“ V-Plus 2:1 45-90 mm T 2.8 - T 16 0.75 2‘6“ 53.3°-29.2° 22.7°-12.4° 5.3 11.7 125 mm 280 mm 4x5.65“ V-Plus 2:1 80-180 mm T 2.8 - T 16 1 3‘3“ 32.5°-14.7° 13.8°-6.3° 7.6 16.8 125 mm 430 mm 4x5.65“
Hawk® V-Lite Anamorphics
V-Lite 28 28 mm T 2.2 - T 16 0.8 2‘7“ 82.3° 35° 2.1 4.6 120 mm 137 mm 4x5.65“ V-Lite 35 35 mm T 2.2 - T 16 1 3‘3“ 65.4° 27.8° 2.9 6.4 120 mm 170 mm 4x5.65“ V-Lite 45 45 mm T 2.2 - T 16 1 3‘3“ 53.3° 22.7° 1.9 4.2 104 mm 154 mm 4x5.65“ V-Lite 55 55 mm T 2.2 - T 16 1 3‘3“ 47.10° 20° 2 4.4 104 mm 156 mm 4x5.65“ V-Lite 65 65 mm T 2.2 - T 16 1 3‘3“ 39.7° 16.6° 2 4.4 104 mm 160 mm 4x5.65“ V-Lite 80 80 mm T 2.2 - T 16 1 3‘3“ 32.5° 13.8° 2.3 5 104 mm 185 mm 4x5.65“ V-Lite 110 110 mm T 3 - T 16 1 3‘3“ 23.5° 10° 2.6 5.7 104 mm 200 mm 4x5.65“ V-Lite 140 140 mm T 3.5 - T 22 1 3‘3“ 18.5° 7.9° 2.7 5.9 104 mm 220 mm 4x5.65“
Hawk Anamorphic® - recommended Panning Speeds ° Example: 60°
Focal Length of Hawk Anamorphic® Lens
28 mm 35 - 45 mm 50 - 65 mm 75 - 80 mm 85 - 100 mm 110 - 135 mm 140-150 mm 30° 2 3 5 6 9 12 18 60° 4 6 10 12 18 24 36 90° 6 9 15 18 27 36 54 120° 8 12 20 24 36 48 72 seconds 150° 10 15 25 30 45 60 Panning Angle Panning 90 Panning Speed in Panning 180° 12 18 30 36 54 72 108
® ® p10_1115 Hawk , Hawk Anamorphic , are registered trade-marks of VANTAGE FILM GmbH, Germany, www.hawkanamorphic.com V-Series/C-Series Hawk Anamorphic® - Technical Data
CfD Angle of View Weight Front Overall Min. Filter Lens Focal Length Stop m ft horizontal vertical kg Ibs Diameter Length Size Hawk® V-Series Anamorphics
V 25 25 mm T 2.2 - T 16 1 3‘6“ 92.4° 39.4° 2.8 6.2 142 mm 135 mm 6.6x6.6“ V-30 30 mm T 2.2 - T 16 0.8 2‘8“ 77.1° 32.8° 5.2 11.5 156 mm 188 mm 6.6x6.6“ V 35 35 mm T 2.2 - T 16 0.75 2‘6“ 65° 27.7° 5.6 12.3 156 mm 187 mm 6.6x6.6“ V 40 40 mm T 2.2 - T 16 0.75 2‘6“ 57° 24.3° 6.2 13.6 156 mm 202 mm 6.6x6.6“ V 50 50 mm T 2.2 - T 16 0.6 2‘ 49.6° 21.1° 3.7 8.1 125 mm 202 mm 4x5.65“ V 60 60 mm T 2.2 - T 16 0.6 2‘ 42.5° 18.1° 4 8.8 125 mm 213 mm 4x5.65“ V 75 75 mm T 2.2 - T 16 0.6 2‘ 34.7° 14.8° 4.6 10.1 125 mm 238 mm 4x5.65“ V 100 100 mm T 2.2 - T 16 1 3‘6“ 26.5° 11.3° 6.6 14.5 125 mm 325 mm 4x5.65“ V 135 135 mm T 3 - T 22 1 3‘6“ 19.8° 8.4° 6.3 13.8 125 mm 325 mm 4x5.65“ V 180 180 mm T 3 - T 22 2 6‘6“ 14.7° 6.3° 7.5 16.5 142 mm 407 mm 4x5.65“ V 250 250 mm T 3 - T 22 2 6‘6“ 11.8° 4.7° 7.8 17.2 142 mm 461 mm 4x5.65“ V 350 350 mm T 4.2 - T 32 2 6‘6“ 7.5° 3° 8.4 18.5 142 mm 486 mm 4x5.65“ V 46 - 230 46 - 230 mm T 4 - T 32 0.4 1‘6“ 57.2° - 12° 24.3° - 5.1° 7.4 16.3 150 mm 377 mm 6.6x6.6“ V 300 - 900 300 - 900 mm T 4 - T 32 3 9‘9“ 11° - 4° 4.5° - 1.6° 15.8 34.8 156 mm 672 mm 48 mm Hawk® C-Series Anamorphics
C 40 40 mm T 2.2 - T 16 1 3‘6“ 61.4° 26.1° 2.2 4.8 110 mm 143 mm 4x5.65“ C 50 50 mm T 2.2 - T 16 1 3‘6“ 51.2° 21.7° 2.1 4.6 110 mm 161 mm 4x5.65“ C 60 60 mm T 2.2 - T 16 1 3‘6“ 43.2° 18.4° 2.1 4.6 110 mm 180 mm 4x5.65“ C 75 75 mm T 2.2 - T 16 1 3‘6“ 35.9° 15.3° 2.4 5.2 110 mm 188 mm 4x5.65“ C 100 100 mm T 3 - T 22 1 3‘6“ 26.8° 11.4° 2.7 5.9 110 mm 218 mm 4x5.65“ C 55 - 165 55 - 165 mm T 4 - T 22 1 3‘6“ 48.5° - 16.8° 20.7° - 7.2° 2.2 4.8 110 mm 192 mm 4x5.65“
Hawk Anamorphic® – recommended Panning Speeds For static scenes - 180° shutter & various degrees of sweep Example: 60° pan with 100 mm Hawk V-Series lens should take 18 seconds
Focal Length of Hawk Anamorphic® Lens
25-30 mm 35 - 40 mm 50 - 60 mm 75 mm 100 mm 135 mm 180 mm 250 mm 350 mm 30° 2 3 5 6 9 12 18 20 32
60° 4 6 10 12 18 24 36 40 64 90° 6 9 15 18 27 36 54 60 96 120° 8 12 20 24 36 48 72 80 128 seconds
Panning Angle Panning 150° 10 15 25 30 45 60 90 100 160 Panning Speed in Panning 180° 12 18 30 36 54 72 108 120 192
® ® p11_1115 Hawk , Hawk Anamorphic , are registered trade-marks of VANTAGE FILM GmbH, Germany, www.hawkanamorphic.com HAWK VINTAGE´74 PrImEs Cinematographers who seek the signature 1970s look, complete with low contrast, flares, color aberrations and other “flaws,” can now achieve that look with lenses that incorporate state-of-the-art optics and mechanics and work seamlessly with the latest accessories.
After listening to our customers, we noticed strong interest in older lenses, due to their unique “defects.” At Vantage, we understand that these so-called defects are tools used by cinematographers to subtly communicate a certain feeling or mood to the audience. For example, some of these older lenses, prized for beauty work, deliver a low contrast image with creamy skin tones. With today’s glossy digital formats, the right lens can add a certain authenticity or aesthetic to the image by way of these traits, which in many cases were The Hawk Vintage´74 Lenses deliver the lower contrast and originally limitations chromatic and flare characteristics of older, 1970s lenses, but with precise, modern mechanics and the dependability, sharpness and certain contrast and consistency of all current Hawk lenses. color characteristics and more – put to use by cinematographers as depend on over the last 40 years. We researched the storytelling tools. types and methods of coating used in these lenses from the 1970s, and undertook a series of experiments Our idea was to update designed to recreate the effect. Modern optics meant these lens traits, making that our recipe varied from the older lenses, which often these imaging tools used only one or two layers of coatings. Modern coating available in a lens techniques often employ as many as seven layers. that comes with all the After two years of tests, we arrived at a combination Hawk Vintage´74 – thoroughly upgrades in design and of coatings and lens elements that achieves our goal: a modern lenses that deliver the ease of use that camera thoroughly modern lens that delivers the recognizable recognizable patina of those films we love from the 1970s. crews have come to
Made in Germany by Vantage Film GmbH
p12_1115 Hawk V-Plus Vintage’74 Front anamorPHic Zoom lenses Vantage’s uncompromising standards, unparalleled design expertise, and precision manufacturing allow these new lenses to intercut seamlessly with the entire line of Hawk Vintage’74 primes, a welcome addition to the Hawk family of lenses.
The Hawk Vintage’74 Anamorphic Lenses create the beloved ‘70s look and are in high demand from Europe to North America and from Africa to Asia. Now, Vantage presents the new Hawk V-Plus Vintage’74 Front Anamorphic Zoom Lenses 45-90mm/T 2.9 and 80- 180 mm/T2.9, giving cinematographers all the versatility and advantages of zooms while delivering the same performance and look as the ´74 anamorphic primes.
These new zoom lenses required two years of testing and are extremely complicated to produce, but the results are undoubtedly spectacular. They are based on the very popular V-Plus Front Anamorphic Zoom Lenses and have 22 optical elements that provide 32 glass-to-air surfaces. Every surface has been modified to create the distinctive Hawk Vintage’74 look. This extremely complex process is a marvel of optical design and ingenuity.
The new Hawk V-Plus Vintage’74 45-90 mm/T2.8 and CfD Angle of View 80-180 mm/T2.8 Front anamorphic Zoom Lenses deliver Focal Length Stop m ft horizontal vertical lower contrast and chromatic and flare characteristics of 1970s lenses with modern mechanics and the dependability, sharpness and 45-90 mm T2.9 - T16 0.75 2‘6“ 53.3°-29.2° 22.7°-12.4° consistency of all current Hawk lenses. 80-180 mm T2.9 - T16 1 3‘3“ 32.5°-14.7° 13.8°- 6.3°
Made in Germany by Vantage Film GmbH
p13_1115 V-Lite Vintage´74 Hawk Anamorphic® - Technical Data
Focal CfD Angle of View Weight Front Overall Min. Filter Lens Stop Length m ft horizontal vertical kg Ibs Diameter Length Size Hawk® V-Lite Anamorphics Vintage´74
V-Lite 28 28 mm T 2.3 - T 16 0.8 2‘7“ 82.3° 35° 2.1 4.6 120 mm 137 mm 4x5.65“ V-Lite 35 35 mm T 2.3 - T 16 1 3‘3“ 65.4° 27.8° 2.9 6.4 120 mm 170 mm 4x5.65“ V-Lite 45 45 mm T 2.3 - T 16 1 3‘3“ 53.3° 22.7° 1.9 4.2 104 mm 154 mm 4x5.65“ V-Lite 55 55 mm T 2.3 - T 16 1 3‘3“ 47.10° 20° 2 4.4 104 mm 156 mm 4x5.65“ V-Lite 65 65 mm T 2.3 - T 16 1 3‘3“ 39.7° 16.6° 2 4.4 104 mm 160 mm 4x5.65“ V-Lite 80 80 mm T 2.3 - T 16 1 3‘3“ 32.5° 13.8° 2.3 5 104 mm 185 mm 4x5.65“ V-Lite 110 110 mm T 3.1 - T 16 1 3‘3“ 23.5° 10° 2.6 5.7 104 mm 200 mm 4x5.65“ V-Lite 140 140 mm T 3.7 - T 22 1 3‘3“ 18.5° 7.9° 2.7 5.9 104 mm 220 mm 4x5.65“
Hawk® V-Plus Anamorphics Vintage´74 Zooms
V-Plus 2:1 45-90 mm T 2.9 - T 16 0.75 2‘6“ 53.3°-29.2° 22.7°-12.4° 5.3 11.7 125 mm 280 mm 4x5.65“ V-Plus 2:1 80-180 mm T 2.9 - T 16 1 3‘3“ 32.5°-14.7° 13.8°-6.3° 7.6 16.8 125 mm 430 mm 4x5.65“
The Hawk Vintage´74 Lenses are thoroughly compatible with motor- driven follow focus devices, clip-on matteboxes, and other modern lens mechanics, and they feature robust, clear markings. They are more durable and more resistant than actual 1970s lenses to the physical punishment of today’s far-flung shipping and production realities. And should they need repair or replacement, their up-to-date design makes it possible – not always the case with older, 70s-era lenses.
The Hawk Vintage´74 Lenses are the best of both worlds: the signature aesthetic of older 1970s lenses, combined with the latest and greatest in lens design and construction.
® ® p14_1115 Hawk , Hawk Anamorphic , are registered trade-marks of VANTAGE FILM GmbH, Germany, www.hawkanamorphic.com Comparison of modern film formats 2x Hawk Anamorphic: 2x squeeze Digital & Analog
The Hawk 2x Anamorphics support a wide range anamorphic and spherical shooting.
format Used image area advantages disadvantages Camera systems
Highest image quality, elegant framing, represents high required anamorphic * * Anamorphic production value, high speed lenses and adapted */ 2.40 scope camera equipment. Dragon*/Weapon* * quality of release prints, largest * mm2 2x 409 sensor/negative area, all dupe negatives and prints with low cost contact printing, ultimate format for theatrical release, ideal format for HDTV release.
standard lenses and cameras Lower image quality, * 2.40 spherical * * */ 245 mm2 smallest sensor/nega Dragon/Weapon * formats, expensive DI * process required. *
* Image area cropped
One basic difference between spherical lenses and anamorphic lens systems is the way in which images are captured. Anamorphic lens designs use two focal lengths in one system: a longer focal length for formats, Hawk anamorphic the vertical part of the image and a shorter one for the horizontal part . This leads to pictures with more lenses are the right choice. the audiences, the production va- differences in general per formance between anamorphic lenses and spherical ones. This applies all the - more because the true anamorphic format is supported by a much larger sensor area (or a larger negative generations.
Made in Germany by Vantage Film GmbH
anamorphic lenses
11/2014 Lens Focal L./T-Stop Cfd Lens Focal L./T-Stop Cfd
hawk v-lite anamorphics hawk v-lite vintage´74 anamorphics
Hawk V-Lite 28 28 mm / T2.2 80 cm Hawk V-Lite 28 28 mm / T2.3 80 cm Hawk V-Lite 35 35 mm / T2.3 1 m Hawk V-Lite 35 35 mm / T2.2 1 m Hawk V-Lite 45 45 mm / T2.3 1 m Hawk V-Lite 45 45 mm / T2.2 1 m Hawk V-Lite 55 55 mm / T2.3 1 m Hawk V-Lite 55 55 mm / T2.2 1 m Hawk V-Lite 65 65 mm / T2.3 1 m Hawk V-Lite 65 65 mm / T2.2 1 m Hawk V-Lite 80 80 mm / T2.3 1 m Hawk V-Lite 80 80 mm / T2.2 1 m Hawk V-Lite 110 110 mm / T3.1 1 m Hawk V-Lite 110 110 mm / T3 1 m Hawk V-Lite 140 140 mm / T3.7 1 m Hawk V-Lite 140 140 mm / T3.5 1 m Hawk V-Plus 2:1 Zoom 45-90 mm/T2.9 75 cm Hawk V-Plus 2:1 Zoom 80-180 mm/T2.9 1 m hawk v-plus anamorphics
Hawk V-Plus 35 35 mm / T2.2 75 cm Lens Focal L./T-Stop Hawk V-Plus 40 40 mm / T2.2 75 cm Hawk V-Plus 451 Super Close Focus 45 mm / T3 40 cm various anamorphic lenses Hawk V-Plus 50 50 mm / T2.2 60 cm Angénieux/Hawk 12:1 Optimo 48-580 mm / T4 Hawk V-Plus 65 Super Close Focus 65 mm / T3 40 cm Angénieux/Hawk 6:1 Zoom 34-204 mm / T4.2 Hawk V-Plus 75 75 mm / T2.2 60 cm Angénieux/Hawk 10:1 Zoom 50-500 mm / T5.1 Hawk V-Plus 85 85 mm / T2.2 60 cm Hawk V-Plus 100 100 mm / T2.2 1 m Canon/Hawk 600 600 mm / T4
Hawk V-Plus 120 Super Close Focus 120 mm / T3.5 40 cm Canon/Hawk 800 800 mm / T4 Hawk V-Plus 135 135 mm / T3 1 m Canon/Hawk 1000 1000 mm / T6.3 Canon/Hawk 1600 1600 mm / T8 Hawk V-Plus 150 150 mm / T3 1 m Hawk V-Plus 2:1 Zoom 45-90 mm/T2.8 75 cm Century/Hawk 2000 2000 mm / T8 Hawk V-Plus 2:1 Zoom 80-180 mm/T2.8 1 m Nikon/Hawk 400 400 mm / T3 Nikon/Hawk 600 High Speed 600 mm / T3 hawk v-series anamorphics Nikon/Hawk 600 600 mm / T4 Nikon/Hawk 800 800 mm / T4 Hawk V-Series 25 + 2 Diopters 25 mm / T2.2 60 cm Nikon/Hawk 1200 1200 mm / T5.6 Hawk V-Series 30 30 mm / T2.2 80 cm Slant Focus/Hawk 90 90 mm / T4 Hawk V-Series 35 35 mm / T2.2 75 cm Slant Focus/Hawk 180 180 mm / T4 Hawk V-Series 40 40 mm / T2.2 75 cm Hawk V-Series 50 50 mm / T2.2 60 cm 100 mm / T5.6 Hawk V-Series 60 60 mm / T2.2 60 cm Swing-Shift System/Hawk 160 mm / T4 Hawk V-Series 75 75 mm / T2.2 60 cm 220 mm / T3.5 Hawk V-Series 100 100 mm / T2.2 1 m 20, 28, 35, 50, T-REX Superscope/Hawk Hawk V-Series 135 135 mm / T3 1 m 80, 150 mm/T8 Hawk V-Series 180 180 mm / T3 2 m Hawk V-Series 250 250 mm / T3 2 m Hawk Rear Attachment doubles the focal length, minus one stop Hawk V-Series 350 350 mm / T4 2 m 1.4x Extender for APL 250 Hawk Rear Attachment – Optimo Hawk V-Series 5:1 Zoom 46-230 mm/T4 40 cm doubles the focal length, minus one stop Hawk V-Series 3:1 Zoom 300-900 mm/T4 3 m anamorphic view finders
hawk c-series anamorphics Anamorphic View Finder for Arricam Studio Anamorphic View Finder for Arricam Lite Hawk C-Series 40 40 mm / T2.2 1 m Hawk C-Series 50 50 mm / T2.2 1 m Hawk C-Series 60 60 mm / T2.2 1 m Hawk C-Series 75 75 mm / T2.2 1 m Hawk C-Series 100 100 mm / T2.2 1 m Hawk C-Series 3:1 Zoom 55-165 mm/T4 1 m Anamorphic Eyepiece for Moviecam Compact Anamorphic View Finder Ext. for Moviecam Compact hawk v-lite16 anamorphics Anamorphic View Finder for Moviecam SL Anamorphic Ground Glass + Gate for Moviecam Hawk V-Lite16 14 14mm / T1.5 80cm accessories Hawk V-Lite16 18 18 mm / T1.5 1 m Hawk V-Lite16 24 24 mm / T1.5 1 m Directors Finder Anamorphic Hawk V-Lite16 28 28 mm / T1.5 1 m Hawk V-Lite16 35 35 mm / T1.5 1 m FF-4 Conversion Kit only (Follow Focus not supplied) Hawk V-Lite 45 45 mm / T2.2 1 m Wide Focus Gear for LCS use with Hawk C-Series Hawk V-Lite 55 55 mm / T2.2 1 m 65mm / T2.2 1m Hawk V-Lite 65 Hawk V-Lite 80 80 mm / T2.2 1 m Hawk V-Lite 110 110 mm / T3 1 m Hawk V-Lite 140 140 mm / T3.5 1 m Anamorphic Format Converter (for Video Assist)
p16_1115 AnAmorphic compArison tAble 2x Angle of view Hawk Anamorphics compared to Spherical Lenses
spherical lenses hawk Anamorphic hawk Anamorphic n35
25 mm – 12.5 mm 28 mm 20 mm 14 mm 30 mm – 15 mm 35 mm 24 mm 17.5 mm 40 mm 28 mm 20 mm 45 mm 30 mm* 22.5 mm 50 mm 35 mm 25 mm 55 mm 40 mm* 27.5 mm 60 mm – 30 mm 65 mm 45 mm 32.5 mm – 50 mm* 35 mm 75 mm 55 mm 37.5 mm 80 mm 60 mm* 40 mm 85 mm – 42.5 mm 90 mm* 65 mm 45 mm 100 mm 75 mm* 50 mm 110 mm 80 mm 55 mm 120 mm 85 mm* 60 mm – 90 mm* 62.5 mm 135 mm – 67.5 mm 140 mm 100 mm* 70 mm 150 mm 110 mm 75 mm – 120 mm* 82.5 mm 180 mm 135 mm* 90 mm – 140 mm 100 mm – 150 mm* 105 mm 250 mm 180 mm* 125 mm 350 mm – 175 mm * Focal length available on Hawk Front Anamorphic Zoom Lens
Made in Germany by Vantage Film GmbH
p17_1115 Hawk V-Lite anamorpHics – Squeeze
As a part of its steady commitment to the film industry, Vantage developed a new squeezing ratio for its range of Hawk Anamorphics: Hawk Anamorphic 1.3x Squeeze.
Ten new primes are available: Hawk V-Lite 1.3x 20 mm/t2.2 Hawk V-Lite 1.3x 24 mm/t2.2 Hawk V-Lite 1.3x 28 mm/t2.2 Hawk V-Lite 1.3x 35 mm/t2.2 Hawk V-Lite 1.3x 45 mm/t2.2 Hawk V-Lite 1.3x 55 mm/t2.2 Hawk V-Lite 1.3x 65 mm/t2.2 Hawk V-Lite 1.3x 80 mm/t2.2 Hawk V-Lite 1.3x 110 mm/t3 Hawk V-Lite 1.3x 140 mm/t3.5 No matter which format you ultimately decide on, the additional lenses will follow. new Hawk V-Lite 1.3x Anamorphics use 33% more sensor/ negative compared to standard spherical lenses. The The advent of digital cameras, the use of digital post- new lenses are designed from scratch and set a high benchmark for all other existing lens systems. such as 3 perf have created a growing demand for cutting edge lens technology. The Hawk V-Lite 1.3x Along with the new Hawk lenses, Vantage developed new anamorphic viewfinders for all ArricamTM and ArriflexTM cameras. Also, our PSU HD video assist systems have been upgraded to desqueeze the 1.3x images.
The unique squeezing factor of 1.30x makes it possible to use nearly the entire sensor area of a 16:9 digital the lenses can be used with following camera and achieve the popular widescreen 1:2.40 cameras/formats: release format. The new Hawks compress the wider image to the size of the smaller sensor. No top/bottom cropping of the sensor area is required. This means 1:1.85 PL nearly the entire 1:2.40 maximum image quality combined with a very pleasant sensor/negative area emotional effect.
Furthermore, the new lenses allow shooting with 4:3 ne- 16:9 Broad- 4:3 1:1.78 gative/sensor area and stretch it to 1:78 for 16:9 HDTV PL full sensor cast release 1:1.33 Theatrical 1:1.85 release full frame
The V-Lite 1.3x 28 mm/T2.2 covers a horizontal angle of view of 60,8°. The use of cylindrical lenses with an extremely small radius enabled us to minimize the aerial distance between the single elements and pack them tightly into a small short housing. We reduced the size of the new Hawks to an ultra compact shape – smaller than most spherical lenses on the market right now. Focus and iris rings are at identical positions on all V-Lite lenses. The extends the close focus range to high performance macro work.
Made in Germany by Vantage Film GmbH
p18_1115 HAWK 1.3x Squeeze FRONT ANAMORPHIC zOOMS combine the unique, cinematic visual characteristics of Hawk 1.3x Squeeze Anamorphic Prime Lenses with the convenience and variable focal length of zoom lenses.
Rear anamorphic zooms work with widescreen formats, the Hawk Front Anamorphic Zoom Lenses place the but they cannot deliver the unique and distinctive lan- anamorphic element in front of the spherical elements. guage of true anamorphic. They lack the true anamor- The resulting image displays all the anamorphic blur, phic qualities of prime lenses in part because they are shallow depth of field, elliptical highlights, streaks and designed and built with the anamorphic elements at the flares, geometric curvature and barrel distortion, and back end, behind the spherical elements. Originally, distinct planes of focus cinematographers expect from rear anamorphics were developed because of the large anamorphic primes. size of zoom lenses, but the spherical taking lens meant that the anamorphic elements could not wield their To begin with, the challenge demanded a smaller spherical unique influence on the image. The resulting image zoom lens. Vantage began by achieving breakthroughs was squeezed to the proper standard, but it lacked the in size. Here the company’s policy of controlling and ‘Scope traits filmmakers desire for visual storytelling. mind paid dividends once again. The resulting 1.3x Cinematographers should have anamorphic zoom Squeeze front anamorphic construction delivers excellent lenses that deliver the same performance and look as close focus ability, giving cinematographers additional anamorphic primes. Unlike existing anamorphic zooms,
These new lenses intercut seamlessly with our entire line of 1.3x Squeeze anamorphic primes. Vantage has HAWK V-Plus brought their uncompromising 30-60 mm/T2.8 technical Front Anamorphic Zoom Lens, cfd 0.6 m/2‘ standards, unparalleled design expertise, and precision manufacturing to bear on this newest addition to the Hawk family of lenses. HAWK V-Plus 45-90 mm/T2.8 Front Anamorphic Zoom Lens, cfd 0.75 m/2‘6“
Hawk 1.3x Anamorphic Lenses can be used on all modern digital and film cameras. The unique squeezing factor of 1.30x makes it possible to use nearly the entire sensor area of a 16:9 digital camera and achieve the popular widescreen 1:2.40 release format. Furthermore the lenses can strech the 4:3 negative/sensor area to 1:78 for 16:9 HAWK V-Plus HDTV release. No matter which format you ultimately decide on – 80-180 mm/T2.8 the new Hawk 1.3x Anamorphics use 33% more sensor/negative Front Anamorphic Zoom Lens, cfd 1 m/3‘3“ compared to standard spherical lenses.
Made in Germany by Vantage Film GmbH
p19_1115 V-Lite/V-Plus 1.3x Hawk Anamorphic® 1.3x SQUEEZE - Technical Data
Focal CfD Angle of View Weight Front Overall Min. Filter Lens Stop Length m ft horizontal vertical kg Ibs Diameter Length Size
Hawk® V-Lite Anamorphics SQUEEZE
V-Lite 20 20 mm T 2.2 - T 16 0.6 2‘ 80.5° 34.3° 2.5 5.5 142 mm 145 mm 6.6x6.6“ V-Lite 24 24 mm T 2.2 - T 16 0.6 2‘ 70.2° 29.9° 2.5 5.5 120 mm 145 mm 4x5.65“ V-Lite 28 28 mm T 2.2 - T 16 0.8 2‘7“ 60.8° 25.9° 2.3 5 120 mm 137 mm 4x5.65“ V-Lite 35 35 mm T 2.2 - T 16 1 3‘3“ 48.5° 20.7° 2.9 6.4 120 mm 170 mm 4x5.65“ V-Lite 45 45 mm T 2.2 - T 16 1 3‘3“ 39.6° 16.9° 1.9 4.2 104 mm 154 mm 4x5.65“ V-Lite 55 55 mm T 2.2 - T 16 1 3‘3“ 34.9° 14.9° 2 4.4 104 mm 156 mm 4x5.65“ V-Lite 65 65 mm T 2.2 - T 16 1 3‘3“ 29.2° 12.4° 2 4.4 104 mm 160 mm 4x5.65“ V-Lite 80 80 mm T 2.2 - T 16 1 3‘3“ 24° 10.2° 2.3 5 104 mm 185 mm 4x5.65“ V-Lite 110 110 mm T 3 - T 16 1 3‘3“ 17.4° 7.4° 2.6 5.7 104 mm 200 mm 4x5.65“ V-Lite 140 140 mm T 3.5 - T 16 1 3‘3“ 12.2° 5.2° 2.7 5.9 104 mm 220 mm 4x5.65“
Hawk® V-Plus Anamorphics SQUEEZE
V-Plus 2:1 30-60 mm T 2.8 - T 16 0.6 2‘ 53.5°- 31° 22.8°- 13.2° 5.6 12.3 142 mm 310 mm 6.6x6.6“ V-Plus 2:1 45-90 mm T 2.8 - T 16 0.75 2‘6“ 39°- 21° 16.6°- 9° 5.3 11.7 125 mm 280 mm 4x5.65“ V-Plus 2:1 80-180 mm T 2.8 - T 16 1 3‘3“ 23.5°- 9.8° 10°- 4.2° 7.6 16.8 125 mm 430 mm 4x5.65“
The lenses can be used with the following cameras/formats
Camera System Capturing Format/Release Format
1:1.85 PL 1:2.40
4:3 1:1.78 PL
1:1.33 1:1.85
® ®
Hawk , Hawk Anamorphic , are registered trade-marks of VANTAGE FILM GmbH, Germany, www.hawkanamorphic.com Comparison of modern film formats Hawk Anamorphic: 1.3x squeeze Digital & Analog
The new Hawk V-Lite 1.3x Anamorphics support a wide range of and spherical shooting.
format Used image area advantages disadvantages Camera systems
elegant framing, represents - high production value, high quired 1.3x anamorphic Anamorphic lenses. 2.40 scope 340 mm2 sensor/negative area, ultimate format for theatrical release, ideal format for HDTV release.
standard lenses and cameras * 2.40 spherical * * * shorter lenses, smallest * 2 245 mm sensor/negative area of * * *
required anamorphic * Anamorphic negative area, ultimate format lenses. * * 466 mm2 and TV commercials.
standard lenses and cameras look, shorter lenses. 2 340 mm
* Image area cropped use 33% more sensor/negative area compared to standard spherical lenses. Along with the new Hawk ® upgraded to desqueeze 1.3x images.
Made in Germany by Vantage Film GmbH
Hawk V-LiTe16 High Speed Anamorphics for 16 mm
In 2010, Vantage designed a required, so our experiments led to new design concepts set of five entirely new lenses and manufacturing procedures that allowed us to produce for 16 mm production. The lenses small in size and grand in performance. The efforts lenses were designed from led to the simple and elegant solution of using cylindrical scratch and deliver ultra-high lenses with extremely small radiuses to minimize the aerial performance. The lenses have distance between the lenses and then pack them tightly a 1.3x squeeze desirable for into a small, short housing. Super 16 and are available in the following focal lengths: After they were sure that such deeply curved lenses could be manufactured, the optical calculations were made. Hawk V-Lite16 14 mm/T1.5 Hawk Chief Optical Scientist, Dr. Anatoly B. Agourok Hawk V-Lite16 18 mm/T1.5 explains, “To achieve a minimum lens size, I did some Hawk V-Lite16 24 mm/T1.5 intricate fine tuning. Not only did I optimize the shape Hawk V-Lite16 28 mm/T1.5 of the optical elements, I also managed to reduce their Hawk V-Lite16 35 mm/T1.5 number. Plus, I used ultra-thin glass with a high refractive Hawk V-Lite 45 mm/T2.2 index and set even stricter manufacturing tolerances than Hawk V-Lite 55 mm/T2.2 I usually do.” Hawk V-Lite 65 mm/T2.2 Hawk V-Lite 80 mm/T2.2 The result of these efforts is a range of strikingly compact, Hawk V-Lite 110 mm/T3 lightweight S16 anamorphic lenses. These lenses have Hawk V-Lite 140 mm/T3.5 been reduced to their very essence and are smaller than most spherical Simplicity and functionality lenses on the T1.5 – High Speed for Super 16 anamorphic govern the design of this series of market. Still, Fully open, the Hawk V-Lite 16 1.3x provides 100% small, lightweight Hawk V-Lite16 they offer the more light than 35mm anamorphics. This supports Anamorphics. same stunning performance as - The challenge of producing a set all Hawk V-Plus stic of true anamorphic capturing. of anamorphic 16 mm lenses was Anamorphics. not an easy one. It had never - Finally, DoPs been done before, and shooting gular Hawk V-Lite ana- and camera spherical 16 mm always required morphics, the 16 mm set operators have covers the wide range a compromise between negative from 14 to 140 mm. the opportu- nity to work with small S16 lenses which they no longer need to make this uncomfortable trade off. are just as good Proven lens designs did not lead to a compact S16 as their 35mm anamorphic lens with the full-blown quality that Vantage counterparts.
The lenses are available in two versions:
Hawk V-Lite16 Squeeze for Normal 16
This format delivers classical anamorphic images with shallow depth 1:2.40 1:2.40 Hawk V-Lite16 Squeeze for Super 16
This format uses the full S16 negative area. The emotional impact lies between anamorphic and spherical capturing.
systems, have been upgraded to desqueeze these 1.3x images.
Made in Germany by Vantage Film GmbH
p22_1115 V-Lite16 Hawk Anamorphic® for 16 mm Film - Technical Data
Focal CfD Angle of View Weight Front Overall Min. Filter Lens Stop Length m ft horizontal vertical kg Ibs Diameter Length Size
Hawk® V-Lite16 Anamorphics SQUEEZE
V-Lite16 14 14 mm T 1.5 - T 16 0.8 2‘7“ 80.5° 34.3° 2.3 5 120 mm 140 mm 4x5.65“ V-Lite16 18 18 mm T 1.5 - T 16 1 3‘3“ 62.5° 26.6° 2.9 6.4 120 mm 173 mm 4x5.65“ V-Lite16 24 24 mm T 1.5 - T 16 1 3‘3“ 53° 22.6° 1.9 4.2 104 mm 158 mm 4x5.65“ V-Lite16 28 28 mm T 1.5 - T 16 1 3‘3“ 44.5° 20° 2 4.4 104 mm 160 mm 4x5.65“ V-Lite16 35 35 mm T 1.5 - T 16 1 3‘3“ 36° 15.3° 2 4.4 104 mm 159 mm 4x5.65“ V-Lite 45 45 mm T 2.2 - T 16 1 3‘3“ 29° 12.6° 1.9 4.2 104 mm 154 mm 4x5.65“ V-Lite 55 55 mm T 2.2 - T 16 1 3‘3“ 22.5° 9.6° 2 4.4 104 mm 156 mm 4x5.65“ V-Lite 65 65 mm T 2.2 - T 16 1 3‘3“ 20.3° 8.6° 2 4.4 104 mm 160 mm 4x5.65“ V-Lite 80 80 mm T 2.2 - T 16 1 3‘3“ 16.5° 7° 2.3 5 104 mm 185 mm 4x5.65“ V-Lite 110 110 mm T 3 - T 16 1 3‘3“ 13° 5.5° 2.6 5.7 104 mm 200 mm 4x5.65“ V-Lite 140 140 mm T 3.5 - T 16 1 3‘3“ 10.4° 4.4° 2.7 5.9 104 mm 220 mm 4x5.65“
Hawk® V-Lite16 Anamorphics SQUEEZE
V-Lite16 14 14 mm T 1.5 - T 16 0.8 2‘7“ 59° 25.1° 2.3 5 120 mm 140 mm 4x5.65“ V-Lite16 18 18 mm T 1.5 - T 16 1 3‘3“ 49.5° 21° 2.9 6.4 120 mm 173 mm 4x5.65“ V-Lite16 24 24 mm T 1.5 - T 16 1 3‘3“ 41° 17.5° 1.9 4.2 104 mm 158 mm 4x5.65“ V-Lite16 28 28 mm T 1.5 - T 16 1 3‘3“ 36.8° 15.7° 2 4.4 104 mm 160 mm 4x5.65“ V-Lite16 35 35 mm T 1.5 - T 16 1 3‘3“ 28.5° 12.1° 2 4.4 104 mm 159 mm 4x5.65“ V-Lite 45 45 mm T 2.2 - T 16 1 3‘3“ 23° 9.8° 1.9 4.2 104 mm 154 mm 4x5.65“ V-Lite 55 55 mm T 2.2 - T 16 1 3‘3“ 19.8° 8.4° 2 4.4 104 mm 156 mm 4x5.65“ V-Lite 65 65 mm T 2.2 - T 16 1 3‘3“ 16.4° 7° 2 4.4 104 mm 160 mm 4x5.65“ V-Lite 80 80 mm T 2.2 - T 16 1 3‘3“ 13.5° 5.8° 2.3 5 104 mm 185 mm 4x5.65“ V-Lite 110 110 mm T 3 - T 16 1 3‘3“ 9.8° 4.2° 2.6 5.7 104 mm 200 mm 4x5.65“ V-Lite 140 140 mm T 3.5 - T 16 1 3‘3“ 6.8° 2.9° 2.7 5.9 104 mm 220 mm 4x5.65“
Hawk Anamorphic® - recommended Panning Speeds For static scenes - 180° shutter & various degrees of sweep Example: 60° pan with 35 mm Hawk V-Lite16 lens - 2x SQUEEZE should take 12 seconds
Focal Length of Hawk® V-Lite16 Lens SQUEEZE Focal Length of Hawk® V-Lite16 Lens SQUEEZE
14 18 24-28 35 45 55- 80 110-140 14 18 24-28 35 45 55-65 80 110-140 mm mm mm mm mm 65 mm mm mm mm mm mm mm mm mm mm mm 30° 2 3 5 6 9 12 18 20 3 5 6 9 12 18 20 24 60° 4 6 10 12 18 24 36 40 6 10 12 18 24 36 40 48 90° 6 9 15 18 27 36 54 60 9 15 18 27 36 54 60 72 120° 8 12 20 24 36 48 72 80 12 20 24 36 48 72 80 96 seconds 150° 10 15 25 30 45 60 90 100 15 25 30 45 60 90 100 120 Panning Angle Panning
180° Speed in Panning 12 18 30 36 54 72 108 120 18 30 36 54 72 108 120 144
® ® p23_1115 Hawk , Hawk Anamorphic , are registered trade-marks of VANTAGE FILM GmbH, Germany, www.hawkanamorphic.com anamorphic lenses 1.3x Squeeze
11/2014
Lens Focal L./T-Stop Cfd Product
hawk v-lite anamorphics 1.3x Squeeze anamorphic view finders 1.3x Squeeze
Hawk V-Lite 20 20 mm / T2.2 60 cm Anamorphic View Finder for Arricam Studio Hawk V-Lite 24 24 mm / T2.2 60 cm Anamorphic View Finder for Arricam Lite Hawk V-Lite 28 28 mm / T2.2 80 cm Hawk V-Lite 35 35 mm / T2.2 1 m Hawk V-Lite 45 45 mm / T2.2 1 m Hawk V-Lite 55 55 mm / T2.2 1 m Hawk V-Lite 65 65 mm / T2.2 1 m Hawk V-Lite 80 80 mm / T2.2 1 m Hawk V-Lite 110 110 mm / T3 1 m Hawk V-Lite 140 140 mm / T3.5 1 m hawk v-plus anamorphics 1.3x Squeeze Hawk V-Plus 451 Super Close Focus 45 mm / T3 40 cm Hawk V-Plus 2:1 Zoom 30-60 mm / T2.8 60 cm accessories 1.3x Squeeze Hawk V-Plus 2:1 Zoom 45-90 mm / T2.8 75 cm Hawk V-Plus 2:1 Zoom 80-180 mm / T2.8 1 m Hawk V-Plus 3:1 Zoom 200-600 mm / T3.2 2 m hawk v-lite16 anamorphics 1.3x Squeeze Hawk V-Series FF-4 Conversion Kit only (Follow Focus not supplied) Hawk V-Lite16 14 14 mm / T1.5 80 cm Hawk V-Lite16 18 18 mm / T1.5 1 m Hawk V-Lite16 24 24 mm / T1.5 1 m Hawk V-Lite16 28 28 mm / T1.5 1 m Anamorphic Format Converter (for Video Assist) Hawk V-Lite16 35 35 mm / T1.5 1 m Hawk V-Lite 45 45 mm / T2.2 1 m Hawk V-Lite 55 55 mm / T2.2 1 m Hawk V-Lite 65 65 mm / T2.2 1 m Hawk V-Lite 80 80 mm / T2.2 1 m makes it possible to use nearly the entire sensor area of Hawk V-Lite 110 110 mm / T3 1 m Hawk V-Lite 140 140 mm / T3.5 1 m achieve the popular widescreen 1:2.40 release format. The smaller sensor. No top/bottom cropping of the sensor area Lens Focal L./T-Stop various anamorphic lenses 1.3x Squeeze with a very pleasant emotional effect.
32-380 mm/T3. 2 Furthermore, the new lenses allow shooting with 4:3 22-130 mm/T3.4 32.5-325 mm/T3.5 Canon/Hawk 400 400 mm/T3.2 Canon/Hawk 500 500 mm/T3.2 Canon/Hawk 1000 1000 mm/T6.2
Century/Hawk 1300 1300 mm/T6.2 the lenses can be used with following cameras/formats: Nikon/Hawk 260 260 mm/T2.3 Nikon/Hawk 400 High Speed 400 mm/T2.3 Nikon/Hawk 400 400 mm/T3.2 Nikon/Hawk 500 500 mm/T3.2 Nikon/Hawk 800 800 mm/T4.5 1:1.85 65 mm/T4.5 nearly the entire 1:2.40 PL sensor/negative area Swing-Shift System/Hawk 100 mm/T3.2 150 mm/T2.6 T-REX Superscope/Hawk 14, 19, 24, 35, 55, 100 mm/T6.2 4:3 Hawk Rear Attachment 1:1.78 cast release 1 PL full sensor multiplies the focal length by 1.3 times, minus /4 stop Theatrical 1:1.33 1:1.85 release full frame 1 multiplies the focal length by 1.3 times, minus /4 stop
other combinations possible
p24_1115 p25_1115 leads precsion optical uncompromising and quality image brilliant for search great many do as carefully very lenses their choose Lucas George and Scorsese, Martin Spielberg, Steven G Great films need reat lenses These feaTure films have been shoT wiTh hawK anamorPhiC lenses 2015 ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” 2014 ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” ” 2013 ” ” ” ” 2012 2011 2010 2009 2008 2007 2006 2005 2004 2003 2002 2001 2000 1999 1998 1997 1996
1995 Thank you
George Lucas Rick McCallum David Tattersall B.S.C for photographing STAR WARS EPISODE 1 with Hawk Anamorphic Lenses
Made in Germany by Vantage Film GmbH For further information contact Vantage Film, Phone +49 961 26795, Fax +49 961 62983, www.vantagefilm.com Thank you
Roland Emmerich and Markus Förderer for photographing INDEPENDENCE DAY: RESURGENCE with Hawk Anamorphic Lenses
Made in Germany by Vantage Film GmbH For further information contact Vantage Film, Phone +49 961 26795, Fax +49 961 62983, www.vantagefilm.com psu 3 1 ~ 2 3 4
VANTAGE ® PSU-3X Digital Video Assist
Vantage introduces the new PSU-3X – the world´s most powerful video assist
Made in Germany by Vantage Film GmbH For further information contact Vantage Film, Phone +49 961 26795, Fax +49 961 62983, www.vantagefilm.com p30_1115 The Ultimate Video Assist Video Ultimate The on cameras four all displaying simultaneously while takes separate two back playing of capable is and once at cameras four as many as from streams video records PSU-3X The of needs specialized the understand Film Vantage at we systems, assist video of PSU the line making of years 15 and lenses building and designing of years 20 After dependability. rock-solid with performs PSU-3X the sure be can you because And Vantage, from use. it’s to intuitive and designed elegantly compact, is that tool a in image quality and functionality of range powerful a delivers Film Vantage this iteration, With latest systems. assist video digital HD high-end for standard the sets PSU-3X The p Simplicity option. an also is supply power AC headaches. eliminating capability swap superior, far are which attributes, power unit’s the about rave PSU-3X the of Users recording Simultaneous monitors. HD outboard four to up on as well as touch-screen, high for processor HD dual integrated state-of-the-art a is PSU-3X the of heart The Made in Germany by VantageMade in Germany contact Vantage information FilmGmbH ·Forfurther Film, S u Ease of use is crucial to the on-set user of the PSU-3X. This on-setuserof the Easeofuseiscrucialtothe operational mightseem simplicity ® -3 x Phone +49 96126795, Fax+49961 62983,www.vantagefilm.com
® The PerfecT crew MeMber PSU® ® satellite be indispensable tools
PSU Satellite
to the eyes that need to see them – often tool helps by delay and an array of
“The PSU is designed, manufactured, programmed and sup- ported by one company. And it’s a company that stands be- hind every nut and bolt and every board in the unit.” David “Goldy” Goldsmith
Made in Germany by Vantage Film GmbH
MAnUfACtUReD by VAntAGe
David “Goldy” Goldsmith on the PSU-3X:
The PSU system offers portability and rotate it to the left?” The offered him freedom and David “Goldy” Goldsmith is a top video assist professional, with 20 years experience working in the business.
Vantage PSU ®-3X Accessories
AC Adapter Remote Control Sunshade Rain Cover Built like a traditional matte box sunshade to reduce
PSU® Made in Germany by Vantage Film GmbH
lens lens·es 1 2 ~es
Spherical Prime Lenses
MadeMade inin GermanyGermany byby VantageVantage FilmFilm GmbHGmbH Vantage One LenSeS A unique line of high performance T1 prime cine lenses that deliver images with a distinct personality.
Over the past two decades, Vantage has gained a Looking back reputation throughout the cinematography world for our uncompromising Hawk anamorphic lenses. Now, with a In 1966, the Leica 50 mm T1.2 Nocti- great deal of excitement and pride, Vantage takes an am- to achieve T1.2. The lens included one aspheric element, which was ground lenses: the Vantage One lenses. Why Vantage One? with a hand-guided tool, making it rare and extremely expensive to produce. Because this entire set of cine lenses comes with an eye- In 1976, the lens was upgraded to a opening T-stop of T1. This pioneering achievement opens T1 version that replaced the aspheric new worlds of creative opportunity for cinematographers. element with a non-aspherical lens that took advantage of new develop- ments in glass-making. It was a very smart calculation, done This astonishing technical achievement is grounded with relatively limited technology, and the resulting lens be- in a deep understanding of the history of lens design, came an iconic still photography tool. Known for its beautiful an awareness of today’s fast-changing technological bokeh, the 1976 Noctilux produced out-of-focus highlights with a distinctive three-dimensional, bubble-like quality and environment, and informative conversations with con- temporary cinematographers about their requirements. redesigned again using the latest technology, but photogra- The design philosophy behind Vantage One lenses phers say that it lost some of its trademark personality. is fundamentally different, taking advantage of basic changes in filmmaking technology to deliver a distinc- tive visual fingerprint and a new versatility in terms of texture and feel. The line consists of nine prime lenses: 17.5, 21, 25, 32, 40, 50, 65, 90 and 120 mm, all of which include super close-focus optics. And of course, Vantage One lenses come with all the superior mecha- nics and robust construction found in all of our lenses.
In short, our approach was to set a very ambitious goal for our lens design team: an entire set of T1 cine lenses, capable of producing images with an array of looks and textures. We raised the bar further by limi- ting the tools and technology available to them. With Vantage One, they have cleared that bar, breaking precedent and setting a new standard.
the thought process behind Vantage One lenses In the past, cinematographers could choose lenses from the various manufacturers and combine their visual characteristics a unique look for a given project. Over the past 15 to 20 years, modern lenses have become more and more similar, due to increasingly sophisticated and precise design and manufacturing techniques used by all the high-end lens metrics. The quick market penetration of digital cameras has further homogenized and limited the range of creative options for cinematographers, who have had to change their methods in pursuit of a distinctive look appropriate to a given project.
Made in Germany by Vantage Film GmbH T1 – For TexTure, noT sPeed
Before digital cameras made 800 ASA (and even faster Change in speeds) common, cinematographers needed to achieve postproduction a certain exposure level. This fact drove the desire for present high speed lenses. Today, with extremely light-sensitive opportunities digital sensors, that high speed is no longer an essential attribute of cine lenses. With this in mind, and using as An important change in cinema- tography technology that factors a model the legendary Leica 50 mm T1 Noctilux still into our design philosophy is the lens, we challenged our lens designers to create a T1 complete revamp of digital post- production for motion pictures. In the past, the relentless pursuit elements and aspheric lenses. Through extensive expe- of improved sharpness in lenses rimentation with exotic glass and clever arrangements was driven in part by the losses in of various parameters within those self-imposed limita- image quality that resulted from tions, Vantage has created a very high speed lens that the multi-generational duplica- tion process used to make prints. renders superb results with a unique personality. The The sharpest possible taking lens technological constraints that allow for overcorrected helped offset these losses and spherical aberrations in T1 lenses still produce extremely possible to the screen. That has changed. Today, the path from today’s existing spherical prime cine lenses as they are capture through to projection has opened. At T4, T2.8 and T2, Vantage One lenses can the potential to be visually loss- less. Cinematographers tell us that the sharpness of the image lenses produce, but with superior image illumination. can be too intense and unfor- And unlike those of our competitors, the Vantage One giving, too close to reality for storytelling. In some situations, lenses offer additional versatility at other stops. At T1.4, this sharpness calls for additional the results are a bit more forgiving, yet still extremely makeup, adaptations in set deco- good, and at T1, the Vantage One lenses lend the image ration and/or lighting time, or a lovely, subtle creaminess, perfect for skin tones. clarity. This new circumstance allowed our lens designers to No compromises were made in adapting the new de- shift emphasis from maximum sign to all existing and future digital imaging systems. sharpness to other attributes. In the Vantage One lenses, certain The distance from the rear elements of the Vantage gentle aberrations and other characteristics that might be a result, light rays travel to the sensor in very straight welcomed as storytelling tools for lines. Benefits include less color fringing and excellent, cinematographers to manipulate even illumination to the corners of the frame – 100% at as they seek to transport audi- T2, and 85% illumination even at T1. ences to virtual worlds.
Peter Märtin and Wolfgang Bäumler: “Our lens designers work at the intersection of technology and creativity. Our observations, our approach to design, and even our manufacturing techniques are all focused entirely on cinematography and its practitioners. Our ideas are rooted in a keen awareness of the evolution of cinematographic technology, and the opportunities that these changes provide. Vantage is a cinematic company. the colors they want.”
Made in Germany by Vantage Film GmbH Vantage One – twO VersiOns Regular or partially uncoated
Vantage One lenses will be offered in two versions. The Vantage One lenses feature all the durable, dependable mechanics and robust construction that cinematogra- marked with a distinctive red ring, will incorporate some phers have come to expect from our Hawk anamorphics. optical elements with no coating. Leaving some elements The experience of designing and building anamorphic lenses informs our work on the Vantage One line. qualities that blend very well with the other characteri- Contrary to the trend in our business, the Vantage One stics of the Vantage One line. lenses are very small and compact.
aNgLE oF LENS FocaL cFd FRoNt oVERaLL REguLaR oR Stop wEight FiLtER SiZE LENgth SupER cLoSE FocuS ViEw diamEtER LENgth paRtiaLLy uNcoatEd hoRiZoNtaL
VanTaGe one ® 17.5 17.5 mm T 1 0.25 m 10“ 71.5° 2.0 kg 4.4 Ibs 110 mm 152 mm 4x5.65“
VanTaGe one ® 21 21 mm T 1 0.25 m 10“ 62.2° 1.8 kg 4.0 Ibs 110 mm 142 mm 4x5.65“
VanTaGe one ® 25 25 mm T 1 0.25 m 10“ 53.6° 1.6 kg 3.5 Ibs 110 mm 124 mm 4x5.65“
VanTaGe one ® 32 32 mm T 1 0.25 m 10“ 43.5° 1.8 kg 4.0 Ibs 110 mm 126 mm 4x5.65“
VanTaGe one ® 40 40 mm T 1 0.34 m 1‘2“ 34.9° 1.5 kg 3.3 Ibs 110 mm 126 mm 4x5.65“
VanTaGe one ® 50 50 mm T 1 0.34 m 1‘2“ 28° 1.4 kg 3.1 Ibs 110 mm 124 mm 4x5.65“
VanTaGe one ® 65 65 mm T 1 0.34 m 1‘2“ 21.5° 1.6 kg 3.5 Ibs 110 mm 124 mm 4x5.65“
VanTaGe one ® 90 90 mm T 1 0.5 m 1‘8“ 17.2° 2.0 kg 4.4 Ibs 128 mm 142 mm 4x5.65“
VanTaGe one ® 120 120 mm T 1 0.75 m 2‘6“ 11.9° 3.8 kg 8.4 Ibs 156 mm 174 mm 4x5.65“
Made in Germany by Vantage Film GmbH
p36_1115
® HAWK 10-24MM/T2.5 extremely compact Super Wide Angle Zoom Lens and lightweight
super close focus to the front element
The spherical Hawk 10-24 mm/T2.5 zoom is the first 35 mm ultra-wide angle zoom lens worldwide.
The Hawk 10-24 mm/T2.5 offers extremely high image quality and compares in speed, weight and size to currently available fixed focal length lenses. A switch to the lens, therefore, poses no restrictions whatsoever in terms of T-Stop or the Steadicam® setup.
The new Super-Close- Focus-System developed by Vantage and for the first time used in the Hawk 10-24 mm/ T2.5 zoom lens guarantees close-up focusing right to the front element – in other words, considerably closer focusing than all other primes available within this range. This leads to dramatic differences in image size and allows for more creative freedom.
Moreover, three aspherical and two ultra low dispersion lens elements ensure that images are sharp and clear Focal length 10 mm - 24 mm from the center to the edges Film format Super 35 ANSI (18,7 x 24,9 mm) and virtually free of color Maximum aperture T2.5 fringing, regardless of the CfD 24 cm / 9½” focal length setting. By using Lens construction 17 elements in 13 groups, 2 glass mold aspherical, a ten-bladed iris diaphragm 1 compound aspherical and 2 UD lens elements that produces a nearly Angle of view 98,9°-56,2° horizontal (18,7 x 24,9 mm) circular aperture, out-of-focus Dimensions 170 mm diam. x 185 mm images in front of or behind Weight 3.95 kg / 8.7 lbs. the subject are rendered as Front diameter 156 mm pleasing blurs. Filter size 6.6 x 6.6”
Made in Germany by Vantage Film GmbH
p37_1115
VANTAGE 17-35 MM ZOOM extremely compact and lightweight
super close focus to the front element
The Vantage 17-35 mm/T2.8 Zoom can focus up to 28 cm / 11“– closer than any other zoom lens available. It can focus even closer than comparable close focus prime lenses. Shots in focus just in front of the clip-on matte box are possible.
Image quality is excellent. All optics are made by Nikon, maintaining maximum definition even in the corners at close focus.
The lens is compact and lightweight ideal for handheld or Steadicam shots. All scales are geared and clearly engraved on both sides. The front diameter is 110 mm - similar to the Vantage Macro Lenses and to the Cooke S4 Primes.
Inspiration comes in a small pa- ckage with the Vantage 17-35 mm Lightweight Zoom.
Optical design 13 elements / 10 groups Weight 1.7 kg / 3.75 lbs Front diameter 110 mm Overall length 127 mm Cfd 28 cm / 11”
Made in Germany by Vantage Film GmbH
p38_1115 HAWK 150-450 mm T2.8 High Speed Telephoto Zoom Lens – you can quickly change it from a 150 - 450 mm T2.8 to a 100 - 300 mm T2.2
It´s also the fastest 100-300 mm available. How does this lens give you two sets of the focal length are reduced 0.7 times.
Filters on the front of a long lens degrade its image of
This is a big lens – 600 mm long. Positioning of the elements and mechanical tracking must both be even more precise than in a shorter lens. Zooming moves are obviously very long but must stay centered. Sometimes we contact camera crews to get feedback on the equipment they just rented from us. A number of DPs have told us they´re
extra attention to metal expansion and contraction. Instead of the usual
Focal Length 150-450 mm
T-Stop 2.8 – constant throughout the entire range
Image Format 35 mm ANSI 18.6 x 24.9 mm
Lens Mount PL
The Hawk 0.7x Reducer can be easily attached Number of Elements 18 in 12 groups on location. Overall Lenght 660 mm
Front Diameter ø 156 mm
Internal Filters ø 48 mm (2 pcs.)
Temp.Range -20°C – +50°C -5°F – +125°F no calibration variation
The rotatable Polarizer is available as True Pol or 1-Stop Pola It has a locking mechanism and can be set by hand or motor. 0.7x Reducer
You are welcome to test the zooming accuracy on our test projectors before your next shoot.
Made in Germany by Vantage Film GmbH
p39_1115
KinoptiK paris Lenses Re-Housed Vintage Glass, Beautiful Images
Founded in 1932 by Messieurs Grosset and Perthuis in Paris, Kinoptik has produced some of the most advanced optical systems used in the civilian, military, and research communities. Kinopitk concentrated its efforts on the cinema business in 1944 by building lenses and and the high quality of their optics. Kinoptik’s high point
Features
KinoptiK-paris Lenses
Focal Length Stop CFD 18 mm T 2.2 0.17 m 7” 25 mm T 2.5 0.20 m 8” 35 mm T 2.4 0.20 m 8” 40 mm T 2.4 0.20 m 8” 50 mm T 2.5 0.23 m 10”
75 mm T 2.5 0.45 m 1’6” Kinoptik lenses 100 mm T 2.5 0.50 m 1’8” provide vivid images. The color temperature is warm, creating nice 150 mm T 2.5 0.90 m 2’8”
Vantage has re-housed and adapted these lenses to give cinematographers the opportunity to use this classic glass with modern cameras and mecha-
Sharp lenSeS for Soft SceneS Our uncoated Superspeeds help you create the scene’s mood and feeling
These are modern Zeiss lenses, so you know they’re sharp. Naturally, you can expect a similar effect from every But they can also help you to capture the atmosphere you lens in the set. There are some coatings still in place on in digital post almost never looks natural, and it’s done by some focal lengths, more from others, so they all match. someone else. With these lenses, you control the look They‘re all Zeiss T1.3 designs, but our coating removal and the feeling of each shot in the camera.
And they’re not just for noticea with them outside on cloudy days. “You can place the sun in a corner of the frame for Ericson Core, “But I have also stage. When I use them, it’s to set the mood for that particular scene and to make the images speak.”
glass elements and from the black inte rior of the lens barrel, moving the light or the lens a few millimeters gives you a range of unpredictable veiling choices effect slightly different. (And this may be a
the set of uncoated lenses consists of following primes and zooms:
Zeiss 14mm Zeiss 18mm Zeiss 25mm Zeiss 35mm Zeiss 50mm Zeiss 85mm
If you’d like to run some tests with our ambience lenses before your next important shoot, give us a call.
p42_1115 BAUSCH & LOMB SUPER BALTAR LENSES Very old glass mounted in modern mechanics
These vintage lenses were manufactured years ago for Mitchell Camera Corp. by Bausch & Lomb in Rochester, New York. The Super Baltars inherently create a soft and warm look. Gentle and pleasing, often with an artistic flare, our Super Baltars have all been completely rebuilt by MOY in the United Kingdom. All primes offer extended close focus distances for macro work.
Bausch & Lomb began producing camera lenses for the motion picture industry in 1915. Its Super Cinephor projection lens became the industry standard when it was introduced in 1922. Bausch & Lomb helped revolutionize the movie-going experience in 1952 with the introduction of the CinemaScope lens by 20th Century Fox. The new technology was so popular that MGM and Warner Brothers quickly took it up as well. In 1955, the Motion Picture Academy of America honored Bausch & Lomb with an Academy Award – the Oscar – for its contributions to the industry.
The set of Super Baltars consists of f ollowing primes:
Bausch & Lomb MOY Super Baltar 20 mm / T2.3 Bausch & Lomb MOY Super Baltar 25 mm / T2.3 Bausch & Lomb MOY Super Baltar 35 mm / T2.3 Bausch & Lomb MOY Super Baltar 50 mm / T2.3 Bausch & Lomb MOY Super Baltar 75 mm / T2.3 Bausch & Lomb MOY Super Baltar 100 mm / T2.3
If you’d like to run some tests with our Super Baltars before your next important shoot, give us a call.
p43_1115 high speed AsphericAl lenses The classic definition to cinematography: Canon K-35s from the 1970ies
*The K-35 series of high-performance lenses represents an achievement in the tradition of Canon reliability and technical excellence. This wide range of focal length lenses was engineered and manufactured taking full advantage of Canon´s experience in every aspect of cinematography. And these lenses exceed the exact demands from professional performance.
Canon´s years of experience and research shine through the carefully crafted design of the lenses, unrivaled in reliability, optical and mechanical The set of K-35 consist of following lenses: performance. Canon paved the way with the introduction of its aspherical lenses. Features professional users. professional color balance.
* Canon´s advertising text from 1977.
if you’d like to run some tests with our K-35 lenses before your next important shoot, give us a call.
kowa anamorphics Extremely compact Anamorphics made in Japan
Kowa Anamorphics were produced in the 1970s. Due to their compactness, they are often used for action or aerial sequences. The range consists of four primes (40, 50, 75 and 100 mm). The optical design and coating type of the Kowa Anamorphics can not be compared with today´s standards. Heavy flaring, distortion, breathing and softness are inherent to this construction. Unique vintage looks can be achieved by using these lenses on modern digital film cameras.
Features
The set of kowa anamorphics consists of following lenses:
if you’d like to run some tests with our kowa anamorphics lenses before your next important shoot, give us a call.
p45_1115 LensBaBy PL Our Lensbaby help you create desired out of focus effects
Lensbaby PL is the hybrid love child of an old-fashioned How to use the Lensbaby: bellows camera and an up-tight, tilt-shift lens. Lensbaby Focus your Lensbaby by compressing the lens with your allows precise focus control. move the sweet spot of sharp focus around the image Featuring a low dispersion, multi-coated optical glass by bending the lens. When the sweet spot is sharp and doublet, the Lensbaby delivers images with a tack-sharp placed where you want, press the Locking Button on sweet spot. the Focusing Collar to lock your Lensbaby into place. Seven different iris disks allow aperture settings between T2 and T22. the sweet spot’s placement by rotating the metal rods.
The Lensbaby PL kit includes three focal lengths: 30 mm / T2 · 50 mm / T2 · 80 mm / T2
Optics Multi-coated optical glass doublet
Focus Manual/Fingertip with two If you’d like to run some tests with our Iris Interchangeable levitating Lensbaby before your next aperture discs important shoot, give us a call.
p46_1115 VANTAGE 6 mm ATTACHmENT for NikoN 8 mm fisHEyE
The Vantage 6 mm Attachment converts the Nikon 8 mm Fisheye into a lens with a 220° angle of view. This perspective is so extreme, the lens actually looks backwards on the edges of the frame.
The front glass diameter measures 225 mm/8.8” and it weighs a total of 2.6 kg/5.6 lbs. This makes the Vantage 6mm Fisheye Attachment one of the largest optical elements ever produced for motion picture image capture, and its existence alone is an impressive example of Vantage’s capabilities as a lens producer.
Resulting Focal Length 6 mm
Resulting T-Stop 2.8
Cfd
Image Format 35 mm
Weight 5 kg / 10.9 lbs Including Nikon 8 mm
Front Diameter Ø 236 mm
Internal Filters Ø 40.5 mm
Made in Germany by Vantage Film GmbH
p47_1115 For further information contact Vantage Film, Phone +49 961 26795, Fax +49 961 62983, Vantage 0.7x ReduceR
When shooting with a Century Series 2000 Mk2 Periscope wide open, the lens has a T-Stop of T4. Combine this lens with the Vantage 0.7x Reducer and the T-Stop of the Periscope changes to T2.8 with noticeably improved picture quality.
The Vantage 0.7x Reducer can be combine with many telephoto lenses and periscopes. By attaching a 0.7x Reducer, the image size will be reduced, but aberrations will also be reduced. Therefore, the lens with the reducer attached will perform better than the original lens.
For decades, only 1.4x or 2x Extenders were available. The Vantage 0.7x Reducer is a unique tool that gives filmmakers new options on the set.
the following lenses with universal Mount accept the Vantage 0.7x Reducer:
The Vantage 0.7x Reducer attached to the Century Series 2000 Mk2 Periscope
Made in Germany by Vantage Film GmbH
VANTAGE MACRO LENSES High Quality Close-up optics with the legendary LEICA® glass
The following focal lengths are available 15, 19, 24, 27, 35, 50, 60, 90, 135, 180 mm, all T2.8 in PL- or PV-mount
Exposure compensation is shown on the left side of every lens
Vantage 60 mm/T2.8 MACRO Internal Focusing
Lens Focal Length Stop CFD Weight Front Diameter Overall Length
MACRO 15 15 mm T 3.5 0.16 m 6,3“ 1.9 kg 4.2 Ibs 110 mm 112 mm
MACRO 19 19 mm T 2.8 0.14 m 5,5“ 1.1 kg 2.4 Ibs 110 mm 90 mm
MACRO 24 24 mm T 2.8 0.14 m 5,5“ 1.1 kg 2.4 Ibs 110 mm 94 mm
MACRO 27 27 mm T 2.8 0.15 m 5,9“ 1.2 kg 2.6 Ibs 110 mm 100 mm
MACRO 35 35 mm T 2.8 0.17 m 6,7“ 1.5 kg 3.3 Ibs 110 mm 115 mm
MACRO 50 50 mm T 2.8 0.23 m 9,1“ 1.4 kg 3.1 Ibs 110 mm 120 mm
MACRO 60 60 mm T 2.8 0.25 m 9,8“ 1.8 kg 4.0 Ibs 110 mm 170 mm
MACRO 90 90 mm T 2.8 0.35 m 1‘2“ 2.2 kg 4.9 Ibs 110 mm 200 mm
MACRO 135 135 mm T 2.8 0.55 m 1‘10“ 2.6 kg 5.7 Ibs 110 mm 245 mm
MACRO 180 180 mm T 2.8 0.77 m 2‘6“ 4.0 kg 8.8 Ibs 110 mm 345 mm
Made in Germany by Vantage Film GmbH
p49_1115 ® Isco specImagIne For microscopic A Long Distance Macro Lens cinematography
Getting good close-up shots of small objects has always been challenging. With most macro lenses, the working distances are so short that lighting the subject can be problematic. Isco-Optic GmbH’s Specimagine lens system is a perfect solution for many situations, especially tabletop commercial work. 1x 4x 10x The Specimagine Long Distance Macro Lens system is a modular system consisting of an optical basic module and five attachment lenses. These provide be mounted on most 35 mm and 16 mm cameras. It a magnification range of 0.3x to 10x and have a has an aperture range of T22 to T64, and the lens is working distance of 20 cm (6.5 inches) to 4.8 cm (about compact and lightweight, measuring about 14” long and 2 inches). At the 24 inch range, the 1:1 image common weighing just 1.6 kg. Due to increased distance from the to most macro lenses is achieved but from a much subject, lighting options are improved and with T-Stops further distance.
TecHnIcaL specIFIcaTIons FoR Isco-opTIc specImagIne® Lens anD moDULes
Standard Lens CF1 Attachment CF2 Attachment CF3 Attachment CF4 Attachment
Working 40-200 cm 30-70 cm 15-22 cm 10-13 cm 4.8-5.8 cm Distance (16“ to 79“) (12“ to 28“) (6“ to 9“) (4“ to 5“) (2“ to 2.3“)
1.6x to 0.3x 2.1x to 0.8x 3.9x to 2.4x 5.3x to 3.9x 10.0x to 7.8x
p50_1115 T-REX SUPERSCOPE and SKaTER SCOPE MInI T-REX
T-Rex Superscope a multidirectional snorkel 105 mm 600 mm system that is available in T-Rex Superscope Stan- dard Version Available Lenses include 5.5-20, 8-18, very high image quality and 17-36, 32-70 and 60- matches will with modern 125 mm. Borescope optional zooms and primes.
105 mm 550 mm T-Rex Superscope High- Speed Version Available Leica Lenses include 10 , 14 , 18, 24 , 40 and 80 mm.
Skater Scope Mini T-Rex The Skater Scope is a compact snorkel lens system. It’s versatility and size make working on the set much easier in critical lighting situations. It can be used straight (as a boroscope) or tilted (as a periscope) at any angle.
CENTURY PERISCOPE SERIES 2000 MARK II Underwater or Close Work Reliability
Advanced Optical Performance – While ideal for shooting miniatures and tabletop setups, the Series 2000 Mark II T4 Periscope is equally at home in the real world – where lighting conditions are less easily controlled. Displaying superior optical performance even at the widest aperture, the Periscope can capture unusual points of view in a wide range of shooting situations, both in studio and on location.
High Resolution – The Series 2000 Mark II Periscope incorporates ultra-low dispersion Fluoro- Phosphate glass, dramatically reducing field curvature and chromatic aberration, which radically improves off-axis resolution. - Simplified Exposure Control– Compatible with an ture environments and real world scenarios extensive range of lenses, the S 2000 Mark II Periscope contains its own iris which reads directly in T-stops. The camera operator need only set the lens´ aperture to Fluoro-Phosphate glass elements 2.8, and the Periscope´s iris to the T-stop the exposure requires. The iris provides the control necessary to T-Stops & Standard Follow Focus minimize vignetting. The Periscope´s new internal focusing system makes it easy to utilize a standard follow focus unit. iris and focus)
Reaching Out – The S 2000 Mark II Periscope´s 90° prism can be replaced with an optional Straight-view section*, extending the lens for impossible looking shoots in which the camera seems to dolly through a window or between the bars of a lion´s cage.
Underwater Use – Underwater Sleeve for underwater shoots available.
CENTURY PERISCOPE SERIES 2000 MARK II
90° View
T4 - T32 T4 - T32
Interchangeable Interchangeable
Interchangeable Interchangeable
20.71“L x 3.90“D x 3.10“W 21.72“L x 3.90“D x 3.10
10 lbs. 3 oz. 10 lbs. 1 oz.
* Images are inverted and reverted
p52_1115 op·ti·cal 1 2 3 4 tool 1 2 fil·ter 1 2 3 optical ~s
VANTAGE BLUE-VISION ® EXP Five Experimental Flaring Attachments
The horizontal flare created by certain anamorphic lenses has led to many discussions in recent years. On the one hand, this optical imperfection is quite irritating because it highly impacts the impression of the images. On the other hand, its technical look is appreciated as an additional design element, especially in action films and commercials.
Historically, the flare originates from the optical construction and inadequate coating of the affected lens elements. Vantage Film has developed the Blue-Vision attachments to give cinematographers to ability to create appealing flares in a controlled way. The Blue-Vision EXP version and only take up one slot in a standard matte box. recommends proper testing of the effect in advance.
All Blue-Vision attachments are precisely tuned to the Colorless Flares: performance of Hawk Vantage Anamorphics and offer White-Vision EXP an especially pleasing is the identical solution when combined with them. However, these product, without attachments can also be the blue. used with many spherical lenses from different manufacturers as well. ®
European Patent 1672419 B1 granted. German Design Reg. No. 40504902.1 Blue-Vision® is a registered trademark of Vantage Film
Produce Colorless Effects with Vantage White-Vision EXP
Made in Germany by Vantage Film GmbH
p53_1115 VANTAGE BETHKE EffEcT®
The Vantage Bethke Effect® series of ten high quality filters refract and react with light in unique ways. How the filters are used will be as individual and distinct as the cinematographer using them.
Vantage fosters an environment of invention, and these filters are the inspired work of one of our top lens engineers, Heiko Bethke. His long- standing curiosity with light refraction led to years of Vantage-supported experimentation on a wide
variety of materials. His work resulted in the Vantage Bethke Effect ® development of these filters and the manufacturing is available in 6.6x6.6“. They are designed for use with Arri LMB-4, MB-14 and MB-28 matte boxes. A set contains ten filters: Aerosphere, techniques that make them and their flawless Carnaby Street 1968, Dandelion, Fish Swarm, Ice Dust, Kojak Blue, optical qualities possible. Kojak Brown, Kojak Red, Las Vegas 5am, Red Pearls. Patent pending.
Extensive testing revealed which materials resulted in the most interesting and potentially usable image abstractions. Making the final cut were diamond dust, filaments, and glass in varying shapes, e.g., pearls and cylinders. Color is another variable that played into the development of this exciting series of filters.
Kojak Red Equally crucial to success was Bethke’s development of patented methods for the manufacture of as Las Vegas 5AM, Fish Swarm, Ice Dust, and Dandelion before packaging them as a set of ten, each solidly mounted in an engraved frame and ready for the matte box.
Carnaby Street 1968 Naturally, a cinematographer’s personality and vision will inform the use these filters, and lens choice, focal length, direction of the light, and light intensity are only some of the variables that can change the effects the filters produce. The effects can be subtle or overwhelming –we leave that choice up to the cinematographer. Looking ahead, we plan to expand the range of Bethke Filters. As film enthusiasts, we know that Las Vegas 5am sometimes the best cinema breaks the rules; these Original frame grabs. Shot with Hawk 45-90mm/T2.8 1.3x Squeeze new filters work to break a few as well. Front Anamorphic Zoom Lens, Arri Alexa Plus 4:3 and Xenon Flashlight.
If you’d like to run some tests with our Vantage Bethke Effect®
p53_1115 VANTAGE GLARE EFFECT ® FILTERS
The Vantage Glare Effect Filters are a series of five superior quality lens attach ments that use prisms, crystals and other objects to break up light from outside the frame in fascinating and surprising ways.
With the Vantage Glare Effect Filters, Vantage provides another tool whereby filmmakers can make the leap from precision engineering to visual poetry. The Vantage Glare Effect Filters grew out of our work with the Vantage Bethke Filters, which use a variety of materials to create image abstractions through the reflection and refraction of light. The Glare Effect Filters differ, however, from the Bethke Filters in three important ways. The first is the materials with which they are constructed, which include tiny prisms, glass rods, and SwarovskiTM crystals, Vantage Glare Effect® made by the legendary Austrian crystal manufacturer. is available in The second crucial difference is that the Glare Effect 6.6x6.6“. They are designed for use with Arri Filters are designed to redirect light from outside the LMB-4, MB-14 and MB-28 frame. As a result, the effect is not generated by a light matte boxes. source within the frame. The Bethke Filters, on the other ® is a registered trademark hand, usually work with a light source that is present in of Vantage Film the frame. The third difference is that unlike the Bethke Filters, which come in a range of colors, the Glare Effect Filters are completely white and work without adding color to the light and images they affect.
Because of the additional thickness of the objects they introduce into the optical path, the Vantage Glare Effect Filters take the place of two filters trays. The reflective and refractive elements are mounted between two pieces of optically flawless glass. The filters can be rotated or repositioned within the filter tray during the ® A shot, to create dynamic effects.
The effects generated by the combination of Glare Effect Filters and the quality, angle, color and intensity of light range from subtle to powerfully abstract. As with any tool Vantage makes, the final effect depends on the individual judgment and inclination of the artist who wields it. At Vantage, we understand that superlative imagery is often the result of painstaking study and planning that intersects with an unexpected moment of inspiration. Our goal with the Glare Effect Filters is to help facilitate these “happy accidents.” ® B
If you’d like to run some tests with our Vantage Glare Effect®
p54_1115 VANTAGE POLA FRAMES
Vantage Pola Frames are designed for use with ARRI matte boxes.
The Pola Frame allows rotation of the polarizer without turning the clip-on matte box.
Gears with module 0.8 allowing motorized in-shot rotation.
Vantage Pola Frames come in two sizes, both equipped with original Schneider
A True Pol/85 combined version is available on request.
Vantage Pola Frame 4x5.65” for ARRI MB-5, MB-18, MB-19
Vantage Pola Frame XL 6.6x6.6” for ARRI LMB-4, MB-14
The Vantage Pola Frame XL covers very wide lenses e.g. Zeiss Ultra Prime 8R or Angénieux 24-290 mm Optimo
Made in Germany by Vantage Film GmbH For further information contact Vantage Film, Phone +49 961 26795,
p56_1115 Patent pending Select from Vantage Filter OVerView more than 6000 ® ® ® ® ® ® ® ® ® ® ® ® ®
light Correction: ®
Polarizing: ® ® Clear / UV: ® ® ® ® ® ® ® ® ® ® ®
CLAIRMONT IMAGE SHAKER Camera Safe Shaking Effects
The Clairmont Camera Image Shaker has been designed to provide camera safe shaking effects in a space saving, quiet package. The system accomplishes this not by moving the whole camera but by using modern computerized controlled actuators and captive custom Clairmont Image Shaker formulated optical materials to move the with both actuators image the camera sees. for X and Y axis, mounted power- distribution-box and You can independently adjust on both X and Y control-box. axis enabling you to simulate, for instance, a bouncing off-road vehicle by creating moderate side to side motion and vigorous up and down shaking, or you can go all out in all directions. It‘s your choice! The advanced micro controller provides truly random motion, which is completely under your control. You control the horizontal. You control the vertical. Because the system is stationary, the operator is now actually able to view through the eyepiece while the image is shaking. The Clairmont Image Shaker provides instant results, on the set, now. No more post production “cookie cutter” effects.
The unit is compact and easy to set up. It weighs 4 kg / 9 lbs including all mounted accessories. Its support bracket mounts on 19 or 15mm Arriflex rods. The Clairmont Image Shaker has to be used in front of the lens, and accepts a LMB-4 matte box for filtering. A special adapter accepts all original MB-14 light protection rings for proper connection to spherical and anamorphic lenses.
Because it is quiet and provides a great amount of shaking without damaging the camera or lens, it is compatible with sound cameras as well as MOS cameras.
It covers spherical lenses from 18 mm to 180 mm and anamorphic lenses from 50 mm to 250 mm.
The Clairmont Image Shaker is exclusively available in Europe through Vantage Film.
p58_1115 Vantage SlenDer DIopter®
The extremely thin Vantage Slender Diopter® uses only a single filter slot. Its Rectangular shape covers wide lenses.
At Vantage, a wealth of experience and expertise in Features of the Vantage Slender Diopter: optical design goes into all our products – not just our well known Hawk Anamorphics and Vantage One T1 spherical lenses. We also take great care in the design and manufacture of other optical tools, always with the eliminates ghosting Slender Diopter®. The Vantage Slender Diopter offers cinematographers the convenience of a high quality diopter in a standard extremely high picture quality with almost no distortion or expensive OharaTM S-LAH51 glass, we’ve created an ARRITM with Hawk and Vantage lenses consuming mounting with a “donut.” Instead, adding or removing the Slender Diopter® is as easy and quick as
The Vantage Slender Diopter® strength of +0.8, as opposed to the normal +1, The VANTAGE Slender Diopter®
If you’d like to run some tests with our Slender Diopter® before your next important shoot, give us a call.
p59_1115 VANTAGE SLIDE DIOPTERS
Vantage Slide Diopters are designed for use with regular Arri MB-14 or LMB-4 matte boxes.
Vantage Slide Diopters fit directly into the filter slots of these matte boxes. Therefore, placing a diopter in front of the lens takes only a few seconds. Up to three Slide Diopters can be used at the same time. To insert a Slide Diopters, two of the original filter holders must be removed.
Lenses such as the Zeiss 10 or 12 Ultra Prime or the Hawk V-Series 30, 35, or 40 mm can be used with a diopter for the first time by simply placing a Vantage Vantage Spot Diopter Slide Diopters into an Arri with 25 mm bore - offset LMB-4 clip-on matte box.
Vantage Slide Diopters are made with high-quality optical elements that are set within precision machined and engraved aluminum frames.
A set contains three Diopters optical power: +0.5, +1, +2 diopter dimension: 6“ frame dimension: 6.6 x 6.6“ widest lens Zeiss: 10 mm Ultra Prime widest anamorphic lens: Vantage Slide Diopter +2 Vantage Slide Diopter +1 Hawk V-Series 25 mm used with an ARRI LMB-4 used with an ARRI MB-14
Made in Germany by Vantage Film GmbH
p60_1115 VANTAGE STRIP DIOPTERS
Vantage Strip Diopters are designed for use with a ARRI MB-14 matte box.
Vantage Strip Diopters can be mounted at the same time to give the desired effect.
Geared Vantage Strip Diopters frames
Vantage Strip Diopter 15 mm wide
Vantage Strip Diopter 30 mm wide
A set contains six Diopters
Made in Germany by Vantage Film GmbH
VANTAGE SQUEEZE DIOPTERS
Vantage Squeeze Diopters are designed for use with an ARRI MB-14 matte box.
They add a subtle out-of-focus touch to the edges of the frame. Zooming “through” the Vantage Squeeze Diopter creates a unique in-shot variation of the soft effect.
The achieved effect is similar to the well-known Clairmont Squishy Lens™.
Vantage Squeeze Diopter with 25 mm neutral zone
Vantage Squeeze Diopter with 75 mm neutral zone A set contains 9 diopters optical power: +1, +2, +3 neutral zone diameter: 25 mm, 50 mm, 75 mm diopter dimension: 6” widest lens covered: Zeiss 10 mm
Made in Germany by Vantage Film GmbH
p62_1115 VANTAGE SPOT DIOPTERS
Vantage Spot Diopters are designed for use with a ARRI MB-14 matte box.
Rotateable in-shot
Vantage Spot Diopter with 25 mm bore - offset
A set contains 12 diopters optical power: +0.5, +1, +1.5 Vantage Spot Diopter bore diameter: 25 mm, 50 mm with 50 mm bore bore position: centered, offset diopter dimension: 6” widest lens covered: Zeiss 10 mm
Made in Germany by Vantage Film GmbH
p63_1115 Century Super-Wide LoW-AngLe priSm For Extreme Low or High Angle Shoots
The Century Super-Wide Low-Angle Prism allows for shooting down to a point of view of 2.5” (6.35 cm) off the floor and supports lenses as wide as 16 mm. The unit can be inverted to provide for high-angle shots as well. Lenses up to 5” (127 mm) may be installed directly behind the prism without filters for the widest view possible. It couples directly to standard bridgeplate rods and accepts two 4”x5.65” filters, and an adapter accommodates two 4”x4” filters or Chrosziel holders. The addition of filters increases the distance between the back of the prism and lens by ¾”, which may limit the coverage of certain wide- angle lenses.
The prism makes many difficult shots much easier and provides high quality optics that minimize light loss and create crisp, clear, distortion-free images.
Features
(6.35cm) Glass 4”x4” filter holders
Weight 15.5 lbs (7 kg)
Century´s Super Wide Angle Prism sits only 0.25” The Prism can be inverted off the surface which permits a point of view less than 2.5” for high angle shots or when from the floor or ceiling. working in tight quarters.
p64_1115 lens lens·es 1 2 ~es ta·ble 1 2 3 lens ~
Vantage Lens table i 11/2014
Vantage Lens tabLe PL - Mount
Fisheye Lenses / s uper Wide angLe primes Lens Focal Length Aperture Cfd Vantage VANTAGE 6 mm T2.8 0.27 m Super-Fisheye 6 mm Super-Fisheye 7.2 mm T3.3 0.27 m T2.8 CENTury Nikon 8 mm T2.8 0.24 m Fisheye 9.6 mm T3.3 0.25 m
OPTAr Fisheye 9 mm T2.5 1.30 m Full Frame – Fix Focus
CENTury Tégéa 9.8 mm T2.3 0.20 m Wide Angle Attachment gives 6.8 mm T2.3 0.20 m
ZEiSS 10 mm T2.1 0.33 m
VANTAGE 12 mm T2 0.26 m 14 mm T2 0.25 m
Vantage One primes 40 mm T1 Lens Focal Length Aperture Cfd VANTAGE One 17.5 mm T 1 0.25 m 21 mm T 1 0.25 m 25 mm T 1 0.25 m 32 mm T 1 0.25 m 40 mm T 1 0.34 m 50 mm T 1 0.34 m Zeiss 65 mm T 1 0.34 m 10 mm 90 mm T 1 0.50 m T2.1 120 mm T 1 0.75 m
COOKE S4 12 mm T2 0.20 m 14 mm T2 0.20 m 16 mm T2 0.25 m 18 mm T2 0.22 m 21 mm T2 0.22 m 25 mm T2 0.22 m Vantage 27 mm T2 0.25 m 14 mm 32 mm T2 0.30 m T2 35 mm T2 0.34 m 40 mm T2 0.39 m 50 mm T2 0.50 m 65 mm T2 0.70 m
COOKe Optar Century S4 65 mm Fisheye 9 mm Tégéa 9.8 mm/T2.3 T2 T2.5 with Wide Angle Attachment
p65_1115 Vantage Lens table ii 11/2014
primes continued
Lens Focal Length Aperture Cfd COOKe S4 180 mm COOKE S4 75 mm T2 0.75 m T2 100 mm T2 0.90 m 135 mm T2 0.77 m 150 mm T2 1.00 m 180 mm T2 1.24 m
Soft Focus Attachment for 65 mm T2 0.70 m & 75 mm T2 0.75 m
COOKE Mini S4 18 mm T2.8 0.25 m COOKe Mini S4 32 mm 25 mm T2.8 0.25 m T2.8 32 mm T2.8 0.30 m 40 mm T2.8 0.40 m 50 mm T2.8 0.50 m 75 mm T2.8 0.75 m 100 mm T2.8 0.90 m 135 mm T2.8 1.00 m
LEiCA Summilux C Prime 16 mm T1.4 0.35 m LeiCa 18 mm T1.4 0.35 m Summilux C Prime 50 mm 21 mm T1.4 0.31 m T1.4 25 mm T1.4 0.31 m 35 mm T1.4 0.36 m 40 mm T1.4 0.41 m 50 mm T1.4 0.50 m 65 mm T1.4 0.43 m 75 mm T1.4 0.70 m 100 mm T1.4 0.90 m Zeiss Ultra Prime 8 mm R ZEiSS ultra Prime r 8 mm T2.8 0.35 m T2.8 10 mm T2.1 0.33 m 12 mm T2 0.30 m 14 mm T1.9 0.22 m 16 mm T1.9 0.25 m 20 mm T1.9 0.28 m 24 mm T1.9 0.30 m 28 mm T1.9 0.28 m 32 mm T1.9 0.35 m 40 mm T1.9 0.38 m Zeiss Ultra Prime 180 mm 50 mm T1.9 0.60 m T1.9 65 mm T1.9 0.65 m 85 mm T1.9 0.90 m 100 mm T1.9 1.00 m 135 mm T1.9 1.50 m 180 mm T1.9 2.50 m
ZEiSS ultra Prime LDS 14 mm T1.9 0.22 m 16 mm T1.9 0.25 m Zeiss 20 mm T1.9 0.28 m Ultra Prime 135 mm 24 mm T1.9 0.30 m T1.9 LDS 28 mm T1.9 0.28 m 32 mm T1.9 0.35 m 40 mm T1.9 0.38 m 50 mm T1.9 0.60 m 85 mm T1.9 0.90 m 100 mm T1.9 1.00 m 135 mm T1.9 1.50 m
p66_1115 Vantage Lens table iii 11/2014
primes continued Lens Focal Length Aperture Cfd Zeiss ZEiSS Master Prime 12 mm T1.3 0.40 m Master Prime 12 mm 14 mm T1.3 0.35 m T1.3 16 mm T1.3 0.35 m 18 mm T1.3 0.35 m 21 mm T1.3 0.35 m 25 mm T1.3 0.35 m 27 mm T1.3 0.35 m 32 mm T1.3 0.35 m 35 mm T1.3 0.35 m 40 mm T1.3 0.40 m 50 mm T1.3 0.50 m Zeiss 65 mm T1.3 0.65 m Master Prime 150 mm 75 mm T1.3 0.80 m T1.3 100 mm T1.3 1.00 m 135 mm T1.3 0.95 m 150 mm T1.3 1.50 m ZEiSS High Speed 18 mm T1.3 0.24 m 25 mm T1.3 0.24 m 35 mm T1.3 0.33 m 50 mm T1.3 0.67 m 65 mm T1.3 0.67 m Zeiss 85 mm T1.3 0.87 m High Speed 65 mm ZEiSS Standard 16 mm T2.1 0.23 m T1.3 20 mm T2.1 0.20 m 24 mm T2.1 0.32 m 28 mm T2.1 0.27 m 32 mm T2.1 0.55 m 40 mm T2.1 0.89 m 50 mm T2.1 0.44 m 85 mm T2.1 0.88 m 100 mm T2.1 0.99 m 135 mm T2.1 1.46 m Zeiss Standard 50 mm teLephOtO T2.1 Lens Focal Length Aperture Cfd CENTury Canon 200 mm T2 2.60 m 300 mm T2.8 2.80 m 400 mm T2.8 3.60 m 500 mm T4.5 5.00 m 800 mm T5.6 14.00 m CENTury 1000 mm T5.6 14.00 m Century CanOn 400 mm CENTury Nikon 200 mm T2 2.45 m T2.8 300 mm T2.8 3.60 m 400 mm T2.8 3.60 m 300 mm T2 High Speed 3.90 m 600 mm T4 6.50 m
Century niKOn Century niKOn High Speed Telephoto 300 mm 400 mm T2 T2.8
p67_1115 Vantage Lens table iV 11/2014 ZOOms Lens Focal Length Aperture Cfd angénieuX ANGéNiEux Optimo Zoom 15-40 mm T2.6 0.60 m Optimo 15-40 mm 28-76 mm T2.6 0.60 m T2.6 45-120 mm T2.8 1.00 m 17-80 mm T2.2 0.61 m 24-290 mm T2.8 1.20 m
ANGéNiEux Zoom 17-102 mm T2.9 0.75 m ANGéNiEux Zoom Hr 25-250 mm T3.5 1.70 m angénieuX Optimo 17-80 mm T2.2 Mesmerizer for 17-102 mm +1 Stop 0.75 m & 25-250 mm Hr +1 Stop 1.70 m
COOKE S4 Zoom 15-40 mm T2 0.43 m
COOKE Varo-Panchro 20-60 mm T3.1 0.65 m angénieuX COOKE Varotal Mk2 25-250 mm T3.9 1.60 m Optimo 24-290 mm T2.8 Arri/FuJiNON Alura Zoom 18-80 mm T2.6 0.70 m 45-250 mm T2.6 1.20 m
HAWK Super Wide Zoom 10-24 mm T2.5 0.25 m
HAWK Telephoto Zoom 100-300 mm T2.2 3.00 m COOKe 150-450 mm T2.8 3.00 m S4 Zoom Lens 15-40 mm/T2 VANTAGE Lightweight Zoom 17-35 mm T2.8 0.28 m
NiKON Zoom 70-200 mm T2.8 1.40 m
CENTury Minolta Zoom 28-70 mm T3 0.88 m
OPTAr Lightweight Zoom 25-80 mm T3.3 1.00 m
ZEiSS LWZ-1 15.5-45 mm T2.6 0.45 m ZEiSS VP1 16-30 mm T2.2 0.58 m arri/FuJinOn ZEiSS VP2 29-60 mm T2.2 0.78 m Alura Zoom 18-80 mm/T2.6 ZEiSS VP3 55-105 mm T2.2 0.79 m
COnVerters / eXtensiOns Manufacturer Item Optical power VANTAGE reducer 0.7x arri/FuJinOn Alura Zoom 45-250 mm/T2.6 CENTury Extender 1.4x Extender 2x
CENTury Set of Extension Tubes PL to PL 25 mm / 50 mm
Zeiss Zeiss Vantage haWK VP1 16-30 mm LWZ-1 15.5-45 mm 17-35 mm Super Wide Zoom T2.2 T2.6 T2.8 10-24 mm T2.5
p68_1115 Vantage Lens table V 11/2014 maCrO Lenses Lens Focal Length Aperture Cfd arri Arri Macro 16 mm T2.1 0.15 m Macro 50 mm 24 mm T2.1 0.17 m T3 32 mm T2.1 0.19 m 40 mm T2.1 0.24 m 50 mm T3 0.20 m 100 mm T3 0.35 m 200 mm T4.3 0.49 m ZEiSS Master Macro 100 mm T2 0.49 m VANTAGE LEiTZ Macro 15 mm T3.5 0.16 m Zeiss 19 mm T2.8 0.14 m Master Macro 100mm 24 mm T2.8 0.14 m T2 27 mm T2.8 0.15 m 35 mm T2.8 0.17 m 50 mm T2.8 0.23 m 60 mm T2.8 0.24 m 90 mm T2.8 0.34 m 135 mm T2.8 0.55 m 180 mm T2.8 0.78 m iSCO SPECiMAGiNE® T22 Long Distance Macro System Vantage LeitZ Macro 27 mm speCiaL Lenses T2.8 Lens Focal Length Aperture Cfd CLAirMONT 14 mm T2.8 0.18 m Swing/Shift System 18 mm T3.8 0.18 m 24 mm T3.8 0.18 m 35 mm T3.2 0.19 m 50 mm T4 0.28 m 80 mm T2.8 0.34 m Vantage LeitZ 110 mm T2.4 0.58 m Macro 50 mm T2.8 Arri 18 mm T3.8 0.15 m Shift & Tilt Bellows System 20 mm T2.8 0.18 m 24 mm T4 0.22 m 45 mm T2.8 0.37 m 60 mm T2.8 0.36 m 90 mm T2.8 0.45 m 110 mm T2 0.62 m 150 mm T2.8 1.04 m arri Tilt Focus 45 mm retro-Adapter/CFM-1 remote Focus Motor T2.8 VANTAGE Shift & Tilt Mesmerizer +1 Stop – Arri Tilt Focus 24 mm T4 0.33 m 45 mm T2.8 0.28 m 90 mm T2.8 0.51 m
arriCLairmOnt isCO speCimagine Shift & Tilt Bellows System Swing/Shift System Long Distance Macro System
p69_1115 Vantage Lens table Vi 11/2014
speCiaL Lenses continued
Lens Focal Length Aperture Cfd Lens babies LENS BABiES PL System 30 mm T2 0.30 m PL System 50 mm T2 0.45 m 80 mm T2 0.72 m
T-rEx Superscope 5.5-20 mm T7.1 0.15 m 8-18 mm T7.1 0.18 m 17-36 mm T7.1 0.14 m Vantage 32-70 mm T7.1 0.22 m 2 mm Mini Macro/T22 60-125 mm T7.1 0.39 m
T-rEx Superscope HS Leica 10 mm T5.6 0.14 m Optics 14 mm T5.6 0.14 m No Zoom Function 18 mm T5.6 0.14 m t-reX hs 24 mm T5.6 0.14 m Superscope Leika Optics/T5.6 40 mm T5.6 0.21 m 80 mm T5.6 0.44 m
Mini-T-rEx/Skater Scope PL to PL T5.6 depends on lens Cpt VANTAGE 2 mm Mini Macro 40 mm T22 0.01 m Superscope/T5.7
CPT Superscope 10 mm T5.7 0.07 m underwater Housings 15 mm T5.7 0.07 m 25 mm T5.7 0.08 m 32 mm T5.7 0.11 m 40 mm T5.7 0.14 m Cpt 60 mm T5.7 0.30 m Supersnorkel/T8 CPT Supersnorkel 6 mm T8 0.05 m underwater Housings 10 mm T8 0.06 m 16 mm T8 0.06 m 20 mm T8 0.07 m CLairmOnt 40 mm T8 0.08 m Image Shaker 60 mm T8 0.14 m Motor Drive
Mesmerizer for Superscope or Supersnorkel +1 Stop –
CLAirMONT image Shaker
CENTury Series 2000 Super Low Angle Prism +¼ Stop – CENTury S. 2000 Compact Low Angle Prism +¼ Stop
CENTury Periscope Series 2000 Mk 2 PL to PL T4 depends Straight Angle Attachment, Pair of 90° rods for on lens Century Swing/Shift or Lens Motors, Vantage underwater Housing for Periscope, Series 2000 – Super Low Angle Prism underwater Sleeve for Periscope, Mesmerizer for Periscope
NiKON 8 mm T2.8 0.30 m for Eyemo (Nikon-Mount) 12 mm T2.8 0.25 m 15 mm T2.8 0.30 m 20 mm T2.8 0.25 m 24 mm T2 0.30 m 28 mm T2 0.25 m 35 mm T2 0.30 m Century 50 mm T2 0.60 m Series 2000 – Compact Low Angle Prism
ZEiSS Compact 16 mm T2.2 0.25 m for Eyemo 24 mm T2.2 0.35 m (Arri-Standard-Mount) 32 mm T2.2 0.60 m 50 mm T2.2 1.00 m 85 mm T2.2 2.00 m 135 mm T4 1.20 m
p70_1115 Vantage Lens table Vii 11/2014 haWK® anamOrphiCs Lens Focal Length Aperture Cfd haWK HAWK V-PLuS 35 mm T2.2 0.75 m V-Plus 35 mm 40 mm T2.2 0.75 m T2.2 50 mm T2.2 0.60 m Super Close Focus 65 mm T2.2 0.40 m 75 mm T2.2 0.60 m 85 mm T2.2 0.60 m 100 mm T2.2 1.00m Super Close Focus 120 mm T3.5 0.40 m 135 mm T3 1.00 m 150 mm T3 1.00 m 45-90 mm T2.8 0.75 m haWK 80-180 mm T2.8 1.00 m V-Lite 55 mm T2.2 HAWK V-LiTE 28 mm T2.2 0.80 m 35 mm T2.2 1.00 m 45 mm T2.2 1.00 m 55 mm T2.2 1.00 m 65 mm T2.2 1.00 m 80 mm T2.2 1.00 m 110 mm T3 1.00 m haWK 140 mm T3.5 1.00 m Vintage´74 55 mm T2.3 HAWK ViNTAGE´74 28 mm T2.3 0.80 m 35 mm T2.3 1.00 m 45 mm T2.3 1.00 m 55 mm T2.3 1.00 m 65 mm T2.3 1.00 m 80 mm T2.3 1.00 m 110 mm T3.1 1.00 m 140 mm T3.7 1.00 m haWK 45-90 mm T2.9 0.75 m V-Lite16 28 mm 80-180 mm T2.9 1.00 m T1.5 HAWK V-LiTE16 14 mm T1.5 0.80 m 18 mm T1.5 1.00 m 24 mm T1.5 1.00 m 28 mm T1.5 1.00 m 35 mm T1.5 1.00 m HAWK V-SEriES 25 mm T2.2 0.60 m 30 mm T2.2 0.80 m haWK 35 mm T2.2 0.75 m V-Series 50 mm 40 mm T2.2 0.75 m T2.2 50 mm T2.2 0.60 m 60 mm T2.2 0.60 m 75 mm T2.2 0.60 m 100 mm T2.2 1.00 m
haWK haWK V-Plus Zoom 80-180 mm V-Plus Zoom 45-90 mm T2.8 T2.8
p71_1115 Vantage Lens table Viii 11/2014
® haWK anamOrphiCs continued
Lens Focal Length Aperture Cfd haWK HAWK V-SEriES 135 mm T3 1.00 m V-Series 5x46 Zoom 46-230 mm/T4 180 mm T3 2.00 m 250 mm T3 2.00 m
1.4x Extender for 250mm gives 350 mm T4.2 2.00 m 46-230 mm T4 0.40 m 300-900 mm T4 3.00 m haWK HAWK C-SEriES 40 mm T2.2 1.00 m C-Series 40 mm 50 mm T2.2 1.00 m T2.2 60 mm T2.2 1.00 m 75 mm T2.2 1.00 m 100 mm T3 1.00 m
55-165 mm T4 1.00 m
haWK C-Series 3x55 Zoom Other anamOrphiCs 55-165 mm/T4 Lens Focal Length Aperture Cfd T-rEx Superscope 20 mm T8 0.14 m Hawk Anamorphic 28 mm T8 0.14 m 35 mm T8 0.14 m 50 mm T8 0.14 m 80 mm T8 0.21 m 150 mm T8 0.44 m t-reX Superscope/T8 Hawk Anamorphic HAWK 100 mm T5.6 0.28 m Swing/Shift 160 mm T4 0.34 m System 220 mm T3.5 0.58 m
HAWK rear Attachment +1 Stop – haWK HAWK rear Attachment – Optimo +1 Stop – Rear Arri Slant Focus 90 mm T4 0.38 m Attachment 180 mm T4 0.51 m
ANGéNiEux Hawk 48-580 mm T4 1.20 m arri Slant Focus 90 mm/T4 Optimo Hawk Anamorphic ANGéNiEux Optimo 30-72 mm T4 0.65 m 56-152 mm T4 0.60 m
ANGéNiEux Hawk 34-204 mm T4.2 0.75 m Anamorphic 50-500 mm T5.1 1.70 m
angénieuX angénieuX 48-580 mm/T4 Optimo 56-152 mm Hawk Anamorphic T4 Optimo
p72_1115 Vantage Lens table iX 11/2014
anamOrphiC Lenses continued
Lens Focal Length Aperture Cfd niKOn CANON Hawk 600 mm T4 2.80 m Hawk Anamorphic Anamorphic 800 mm T4 3.60 m 600 mm/T2.8 1000 mm T6.3 5.00 m 1600 mm T8 14.00 m
CENTury Hawk 2000 mm T8 14.00 m Anamorphic haWK V-Lite 1.3x Squeeze NiKON Hawk 600 mm T2.8 High Speed 3.90 m Anamorphic 600 mm T4 3.60 m 80 mm/T2.2 800 mm T4 3.60 m 1200 mm T5.6 6.50 m
HAWK® V-Lite 20 mm T2.2 0.60 m 1.3x Squeeze 24 mm T2.2 0.60 m 28 mm T2.2 0.80 m 35 mm T2.2 1.00 m haWK 45 mm T2.2 1.00 m V-Plus 1.3x Squeeze Zoom Lenses 55 mm T2.2 1.00 m 30-60 mm/T2.8 65 mm T2.2 1.00 m 80 mm T2.2 1.00 m 110 mm T3 1.00 m 140 mm T3.5 1.00 m
HAWK® V-Plus 30-60 mm T2.8 0.60 m 45-90 mm/T2.8 1.3x Squeeze 45-90 mm T2.8 0.75 m 80-180 mm T2.8 1.00 m
HAWK® V-Lite16 14 mm T1.5 0.80 m 18 mm T1.5 1.00 m 80-180 mm/T2.8 24 mm T1.5 1.00 m 28 mm T1.5 1.00 m 35 mm T1.5 1.00 m
ANGéNiEux Hawk 32-380 mm T3.2 1.20 m 1.3x Squeeze Optimo haWK V-Lite16 1.3x Squeeze ANGéNiEux Hawk 22-130 mm T3.4 0.75 m 24 mm/T1.5 1.3x Squeeze 32.5-325 mm T3.9 1.70 m
CANON Hawk 400 mm T3.2 2.80 m 1.3x Squeeze 500 mm T3.2 3.60 m 1000 mm T6.2 14.00 m
CENTury Hawk 1300 mm T6.2 14.00 m CanOn 1.3x Squeeze Hawk Anamorphic 1.3x Squeeze NiKON Hawk 260 mm T2.3 2.40 m 400 mm/T3.2 1.3x Squeeze 400 mm T2.3 High Speed 3.90 m 400 mm T3.2 3.60 m 500 mm T3.2 3.60 m 800 mm T4.5 6.50 m
HAWK Clairmont 65 mm T4.5 0.28 m Swing/Shift 100 mm T3.2 0.34 m niKOn System 150 mm T2.6 0.58 m Hawk Anamorphic 1.3x Squeeze 500 mm/T3.2 T-rEx Superscope 14 mm T6.2 0.14 m Hawk Anamorphic 19 mm T6.2 0.14 m 24 mm T6.2 0.14 m 35 mm T6.2 0.14 m 55 mm T6.2 0.21 m 100 mm T6.2 0.44 m
p73_1115 Vantage Lens table X 11/2014 Vintage Lenses
Lens Focal Length Aperture Cfd COOKe Speed Panchro 32 mm COOKE Speed Panchro 18 mm T2.2 0.28 m T2.3 25 mm T2.2 0.20 m 32 mm T2.3 0.20 m 40 mm T2.3 0.21 m 50 mm T2.3 0.30 m 75 mm T2.3 0.45 m 100 mm T2.6 2.17 m CanOn K-35 18 mm CANON K-35 18 mm T1.5 0.30 m T1.5 24 mm T1.5 0.30 m 35 mm T1.3 0.30 m 50 mm T1.3 0.45 m 85 mm T1.3 0.90 m Macro Zoom 25-120 mm T2.8 0.35 m Macro Zoom Anamorphic 50-240 mm T4 0.35 m CanOn 25-120 mm/T2.8 BAuSCH & LOMB MOy 25 mm T2.3 0.20 m Macro Zoom Super Baltar 35 mm T2.3 0.20 m 50 mm T2.3 0.20 m 75 mm T2.3 0.29 m 100 mm T2.3 0.38 m
KiNOPTiK Paris 18 mm T2.5 0.20 m 25 mm T2.5 0.20 m bausCh & LOmb mOy 35 mm T2.4 0.20 m Super Baltar 35 mm 40 mm T2.4 0.20 m T2.3 50 mm T2.5 0.25 m 75 mm T2.5 0.30 m 100 mm T2.5 0.30 m 150 mm T2.8 0.40 m
KOWA Cine Prominar 20 mm T2.6 0.25 m KinOptiK 25 mm T2.3 0.30 m 50 mm/T2.5 32 mm T2.5 0.46 m 40 mm T2.3 0.76 m 50 mm T2.3 0.76 m 75 mm T2.3 0.92 m 100 mm T2.6 1.50 m KOWa CiNAr – uncoated 14 mm T2 0.25 m Cine Prominar 40 mm T2.3 ZEiSS Superspeeds 18 mm T1.3 +¼ Stop 0.24 m
uncoated 25 mm T1.3 +¼ Stop 0.24 m
35 mm T1.3 +¼ Stop 0.33 m
50 mm T1.3 +¼ Stop 0.67 m
85 mm T1.3 +¼ Stop 0.87 m KOWa ANGéNiEux – 20-120 mm T2.9 +¼ Stop 1.00 m Anamorphic 50 mm uncoated Zooms 25-250 mm T3.9 +¼ Stop 1.68 m T2.3
KOWA Anamorphic 40 mm T2.3 0.91 m 50 mm T2.3 0.91 m 75 mm T2.8 0.91 m 100 mm T3.4 1.52 m
p74_1115 Vantage Lens table Xi 11/2014
Vintage Lenses continued
Lens Focal Length Aperture Cfd arri Arri ultrascope 40 mm T2 1.00 m Ultrascope 40 mm T2 Anamorphic 50 mm T2 1.60 m (for special effects) 85 mm T4 2.00 m 135 mm T4 2.00 m
LOMO-Scope 35 mm T2.9 1.00 m Anamorphic 50 mm T2.5 1.00 m (for special effects) 80 mm T2.3 1.00 m BNCr-Mount 150 mm T3.7 2.00 m
diOpters & FiLters Manufacturer Item Vantage SCHNEiDEr Diopter Diopters unmounted Slide Diopter® Split Diopters
VANTAGE Diopters Slide Diopter® Slender Diopter® Spot Diopter® Squeeze Diopter® Strip Diopter®
VANTAGE Filters Pola Frame xL® Bethke Effect® Glare Effect® Blue-Vision®ExP White-Vision®ExP Vantage Spot Diopter® More than 5000 Filters & Diopters in stock
Vantage Vantage Glare Effect® BLUE-VISION®
Vantage Strip Diopter® Vantage Pola Frame XL®
Vantage Slender Diopter®
p75_1115 un·der·wa·ter 1 2 ~ equipment
vAntAge UnderWAter eqUipMent
Nauticam® underwater Housing Depth Rated VaNtage® Periscope underwater Housing Depth Rated
For Arri Century periscope Series 2000 Mark2 0.5 m Alexa Mini 80 5.5” TVLogic HD Monitor m 4 Batteries 14V/?Ah HyDRoflex® accessories
HyDRoflex® underwater Housings Depth Rated ® SL Cine UW Head For Arri UW Tripod Alexa Aquacam UW Video Cable 15m or 30m ® UW Communication System Preston Lens Control + Marine Hand Unit 30 ® HD UW Monitor m 4 Batteries 28V/20Ah light meters For phAntoM Flex 4K Aquacam Preston Lens Control + Marine Hand Unit 30 ® HD UW Monitor m Sekonic Marine UW Light Meter 4 Batteries 28V/20Ah
For red HyDRoflex® lights Depth Rated
epic/Weapon Aquacam hMi hydropar® 1200 W System
Preston Lens Control + Marine Hand Unit 30 ® m 30 HD UW Monitor m 4 Batteries 28V/20Ah ® epic/Weapon deep Water 1200 W 15 m 50 4 UW Batteries 12V/2.5Ah m tUngSten hydropar® 1000 W System ® UW Monitor + 2 Cables
® ® HyDRoHeaD underwater Remote Head Depth Rated tUngSten hydropar 650 W System 30 m 2-Axis UW remote head 50 ® Power Pod Control Module m 650/1000 W 15 m
all Batteries incl. Chargers FlUoreSCent ® tube 60 cm ® Scubacam Splash Housings Depth Rated 2 Weight Cuffs
® 30 Arri Alexa Mini 2 FlUoreSCent tube 120 cm m 4” Scubacam® UW HD Monitor + 2 Cables m Weight Cuffs Arri Alexa 2 ® 4” Scubacam® UW HD Monitor + 2 Cables m
red epic 2 4” Scubacam® UW Monitor + 2 Cables m HyDRoflex® lighting accessories Lead Shot Bag red Weapon 2 4” Scubacam® UW Monitor + 2 Cables m
p76_1115 hydrohead Underwater camera SyStem
The HydroHead is a waterproof remote pan and tilt head. It is the perfect compliment to our RemoteAquaCams. The HydroHead’s light weight and low profile, combined with the tubular hydrodynamics of the RemoteAquaCams, allow this system to glide through the water with less resistance than anything currently available.
Our 2-axis analog head uses underwater mateable connectors and is depth rated to 30 m. An optional “L” bracket allows mounting a standard Arri or Panavision camera package in one of our Scubacam Splash Bags for surface wet work.
The HydroHead system uses reinforced Power Pod electronics and offers operator familiarity and years of dependable, in the field experience.
A dovetail balance plate is built into the tilt rotator to accommodate a wide variety of prime and zoom lenses, and a large selection of camera combinations and Splash Bags can be fitted for above water shooting in wet situations.
7.9“ 15.75“ ® hydrohead (200 mm) (400 mm)
Weight in air 23.5 kg
Weight in saltwater 20.5 kg
Operating depth 50 m
Power required 230 V Mains Power or 29.25“ 2x 24 Volts Battery Power (743 mm)
RAC
p77_1115 AlexA MiNi HoUsiNg
The new Nauticam Alexa Mini Housing was designed in collaboration with Hydroflex, the world’s leading underwater cinema equipment rental house, owned by Pete Romano, ASC. Their combined effort has created the perfect underwater housing system for the Alexa Mini.
Cameras can be easily built up on the camera base plate in good light before sliding the assembled unit into the housing. Lens swaps are easy, and the housing supports a wide range of lenses, from very small lenses to large cinema-style zooms. Large, rubberized lens control knobs with marking discs provide the operator with precise control over the lens. The 250 mm optically coated glass dome port provides outstanding wide-angle imaging performance. An improved locking system makes lens changes easier and reduces the chance of leakage. Many 1/4”-20, 3/8”-16, and 10 mm threaded accessory mounts are provided. The housing ships with the Anton Bauer “Gold Mount” battery plate and the LEMO connector. Plenty of space is allocated for batteries, and surface supplied power can be tethered for all-day shooting. Weight and trim brackets make it easy to achieve neutral buoyancy and left- right balance with easily sourced dive weights. A number of on camera monitoring solutions are available.
Nauticam Underwater Housing
Camera Alexa Mini Dimensions l x h x w 49 x 46 x 41 cm Weight in air 38.5 kg (fully equipped) Weight in saltwater 1.4 kg Operating depth 80 m 5.5” underwater monitor Lens port dome Lenses Zeiss UP Series Arri UWZ 9.5-18 mm VantageOne T1 Cooke S4 Series Hawk V-Lite Hawk C-Series
p78_1115 Arri, red And phAntom UnderwAter cAmerA SyStemS
The Hydroflex RAC (RemoteAquaCam) was engineered primarily for use with our remote 2-axis Hydrohead on a crane for at sea or wet stage work. Field testing has also proven the AquaCam to be useful for handheld filming under the water or floating on the surface because of its aquadynamic shape. Moreover, the AquaCam is ideal to shoot on cramped underwater sets, e.g. submerged cars.
Designed around standard Arri film/digital cameras and Preston remote focus and iris controls, this low profile camera system can be easily fitted with Cooke, Zeiss, Hawk or Panavision spherical and anamorphic lenses. Small Vantage and Century lightweight zoom lenses can also be used. Both flat and dome ports are available as well as a variety of port extension rings to accommodate the different lenses. Water drops are cleared from the front port by an air-powered rain deflector.
The Alexa HD-SDI output can be connected to a 6’’ HD underwater monitor for hand-held viewing, allowing the operator to set the frame while the camera assistant rolls camera, and pulls focus, iris and zoom from above water from as far as 30 m away. The optional Preston Marine Fl&Z hand unit or Arri WCU-4 gives the camera assistant start/stop, focus and iris control underwater. All camera functions can be controlled using a WCU-4 with an Alexa preston marine Remote licence key installed. Fl&Z hand unit
® Arri red phantom
Camera Alexa Epic/Weapon Flex 4K Dimensions l x h x w 30 x 30 x 71 cm Weight in air (fully equipped) handheld 35 kg/remote 33 kg handheld 33 kg/remote 31 kg handheld 34 kg/remote 32 kg Weight in saltwater handheld 1.2 kg (with slide in handheld 1.1 kg (with slide in handheld 1.2 kg (with slide in diving weight) diving weight) diving weight) remote -1.3 kg remote -1.2 kg remote -1.3 kg Operating depth 30 m Viewing 4.3’’ HD underwater monitor Lens port Lenses Hawk V-Lite, Hawk C-Series, MiniHawk, Vantage One T1, Arri Master Primes, Vantage Zoom 17-35 mm, Century Zoom 28-70 mm, Zeiss UP Series, Cooke S4 Series, Canon Zoom Lenses
p79_1115 Professional aluminium underwater housing. Made in USA.
The housing is straight forward, easy to use, and camera with Hawk, Zeiss or Cooke lenses. Various spherical and anamorphic lenses can be utilized in to provide the cinematographer with a full range of options underwater, on the surface, or on a wet set. External controls are provided for iris, focus and video power. Internally mounted lights can be switched on to read T-stop, focus and footage counters.
3 Multiple 8”-16 holes top and bottom facilitate a number of mounting configurations, and our mounting accessories allow easy rigging to jib arms, dollys and cranes.
For above water filming in rainy or wet sets, an optional lens port spray deflector system shoots air across the lens area, keeping drops of water from registering on the image.
When the video tap is used in conjunction with an underwater speaker system, a director can view a thru-the-lens image plus maintain communication with a crew below.
Camera Red Weapon/Red Epic Dimensions l x h x w 49 x 46 x 41 cm Weight in air 38.5 kg (fully equipped) Weight in saltwater 1.4 kg Operating depth 50 m 6” underwater monitor Lens port Lenses Hawk V-Lite Hawk C-Series Vantage One Zeiss UP Series Zeiss Macros Cooke S4 Series
p80_1115 SCUBACAM SplAShBAgS
The Scubacam range of splash bags are completely watertight flexible lightweight camera housings for digital cameras. They are designed to operate just above or just below the surface of water or in an environment which is extremely dusty or dirty, and give the camera both water and dirt protection, while allowing the camera operator access to all the camera and lens functions.
Each model of the splash bag is made from high quality material that is molded to fit snugly around the camera and lens. The units are sealed with specialized watertight zippers. All metal parts are either stainless steel or anodized aluminium.
It is important to remember that these housings are not suitable for prolonged use under water, and they are not an inexpensive replacement for more expensive aluminium deep water housings.
Scubacam Alexa Alexa Mini Red Epic
Black polyurethane coated onto a high tenacity polyamide webbing, Housing and heat sealed to clear viewing windows.
1 x 68 cm 1 x 67 cm 1 x 30 cm Zippers Zippers conform to the M.o.D. Interim Defence Standard 53-100/1 for sealed zip fasteners.
Dimensions l x h x w 70 x 35 x 43 cm 40 x 25 x 20 cm 40 x 35 x 25 cm
Weight in air 6.5 kg (without camera) 3.5 kg (without camera) 3.5 kg (without camera)
Operating temperature -4 degrees C. to +40 degrees C.
Front port spec. non-stick polymer. non-stick polymer. non-stick polymer. 163 x 133 mm 150 x 115 mm 160 x 120 mm
Dump Valve:
Leak alarm 9 volt tone generator max. output 95db.
Maximum depth NO MORE THAN 4 METRES
Maximum wide angle is 14 mm; Lens information Maximum wide angle is 14 mm. Maximum wide angle is 12 mm. standard.
Scubacam air-jet lens cleaning system
Start/Stop Accessible through on/off pistol grip in side of housing.
p81_1115 HydroPar® ligHting systems
HydroPar® Modular components, underwater mateable connectors and integrated ground fault sensors (GFCI’s) for accident prevention make - -
HydroPar® 1200 W Hmi 1000 W tungsten 650 W tungsten
- Designed primarily as a simple, Simple, compact underwater light - lightweight multipurpose under- ging fresnels to adjust the light´s water light source, suitable for key ingenious design allows the lamp achieved by using interchangea- - derwater mateable connector in- mateable connectors incorporate an mateable connector incorporating -
Bulb
POWER POWER POWER NSP FFS
tm 120 cm 60 cm
® ®
Vantage underwater lighting equipment is rented to you only on condition that you will at all times use it in conformity with all customary and legal safety and security requirements and regulations.
PeriscoPe Underwater HoUsing Perfect for Underwater Work
The Vantage Periscope Underwater Housing makes Instructions for Use underwater shooting easy. It is designed for use with the Century Periscope Series 2000 Mark II and has three front housings that accept a variety 01 Slide the camera forward on to the bridge plate, and align the front of the camera with the front of the bridge plate. of lenses, including Cooke S-4s and Vantage Leitz Macros. An extension bracket can be attached for 02 Insert the periscope motor-driven focus. support rods into the camera wedge cm plate in a way that 39
- they extend between
38/39 cm, according to 38 the marking. 03 Attach the periscope onto the camera, and remove the PL adapter of the 04 periscope.
04 Slide the iris and 05 focus controls onto the support rods and lock them in position. The levers have to be inside. 05 Mount the support of the periscope as shown in the picture. 06 Ensure that the locking clamp brackets at the back of the housing are fully open, and then gently slide the housing over the periscope. Ensure that the support rods locate into the front support brackets inside the hou- sing. Adjust the position of the housing and check if the lens locking ring is in the center of the lens port, then lock the rear clamps. 07 Attach the PL adapter to the periscope, and select the lens. Set the lens focus on infinity, and the iris fully open. 08 Check that the o-ring on the housing is in position, unda- maged, and has been greased slightly. Select the most suitable lens extension port and gently screw it on the housing ensuring that it is fully screwed on. At this stage it may be necessary to slightly adjust the position of the Periscope Underwater Housing in order to keep the lens in the middle of the lens port. 09 The yellow colored protective spray cover consists of two parts. Attach the lower part (with window) to the Periscope Underwater Housing. The window has to be aligned to the camera display. Attach the second part of the cover (with zipper) to the first part. Begin at the black arrow on the first part.The four openings allow to insert eyepiece, focus & iris whips, as well as the cabeling. 10 To avoid damage to the glass ports, ensure that the pro- tective covers are in place at all times when they are not in use.
p83_1115 mis·cel·la·ne·ous 1 2 3
Vantage Weiden
Vantage Film GmbH altstraße 9 92637 Weiden · germany Tel. +49 961 26795
from Munich: a 9 direction nuremberg, motorway junction Holledau: a93 direction Regensburg/Hof, drive straight ahead to Weiden, exit #24 Weiden Frauenricht from Berlin: a 9 direction Munich, motorway junction Bayerisch Vogtland: a72 direction Dresden motorway junction Hochfranken: a93 direction Regensburg, drive straight ahead to Weiden, exit #24 Weiden Frauenricht from Nuremberg: a6 direction amberg/Prague, motorway junction Oberpfälzer Wald: a93 direction Hof, drive straight ahead to Weiden, exit #24 Weiden Frauenricht from Prague: e 50/a6 direction nuremberg, motorway junction Oberpfälzer Wald: a93 direction Hof, drive straight ahead to Weiden, exit #24 Weiden Frauenricht
Vantage Berlin
Vantage Film GmbH Oberlandstraße 13-14 12099 Berlin · germany Tel. +49 30 2887628-60
by car: a 100 exit #21 Oberlandstrasse from Airport Berlin Tegel: a 111 direction Dresden/ Magdeburg/ Leipzig/Zentrum after 1.8 km onto a100, after 13.7 km exit #21, turn left, Oberlandstrasse from Airport Berlin Schönefeld: a m Seegraben B96a direction Berlin onto a113. after 10.2 km onto a100, after 2.9 km exit #21, turn right, Oberlandstrasse Public Transport: U+S Hermannstraße, tempelhofer Damm, (1.1 km/13 mins) U alt-tempelhof, tempelhofer Damm, (2.2 km/28 mins) p84_1115 Vantage Prague
Vantage Film Prague s.r.o. Sarajevská 10 120 00 Praha 2 · Czech Republic Tel. +420 222 924 924
from Berlin: a 13 direction Dresden, e55 direction teplice, drive ahead towards Prague center, direction Vinohrady from Warszaw: náchod, drive ahead towards Prague center, direction Vinohrady from Vienna: e461 direction Brno, D1 direction Prague, drive ahead towards Prague center, direction Vinohrady from Budapest/Bratislava: M1 direction Bratislava, D2 direction Brno, D1 direction Prague, drive ahead towards Prague center, direction Vinohrady from Weiden: a93 direction Regensburg, Motorway Junction Oberpfälzer Wald, a6/e50 direction Prague D5 direction Prague, drive ahead towards Prague center, direction Vinohrady Vantage Paris
Vantage Paris SARL 113-121 avenue du Président Wilson 93210 La Plaine Saint Denis · France Tel. + 33 1 49 21 88 90
GPS 48.9076408, 2.3579724 from Paris center: Circular Road/Boulevard Périphérique Porte de la Chapelle Motorway a1 La Plaine Saint Denis from airport Paris-Charles-de-Gaulle: Head west toward Rue de l‘Or, keep left at the fork, follow signs for a1/a3/a16/a104/ Paris/Marne-la-Vallée/Cergy-Pontoise, then keep right at the fork and continue straight. after 800 m take the a1/a3 ramp to a104/ Paris/Marne-la-Vallée/Sarcelles, keep left at the fork, follow signs for a1/Saint-Denis. take exit 2 toward a86/Saint Ouen/Paris-Porte de Clichy, then keep right at the fork, follow signs for n1/Saint-Denis/La Plaine, after 1.7 km turn left onto Rue du Landy/D20, then into avenue du Président Wilson. Public Transport: ReR B – La Plaine Stade de France ReR D – Stade de France Saint Denis Métro 12 – Porte de la Chapelle Bus 153 and 302 – Proudhon p85_1115 WEIDEN BERLIN PRAGUE PARIS
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