For you it s an art. For us it s a science.

Transcription

1 van-tage /ʼva:ntidz US: ʻvæn-/ n 1 advantage: ʻ~ -ground; point of ~. ʻ~ -point n (lit or fig) place from which one has a (good) view of sth; (advantageous) position. coign. 2 (in tennis) first point scored after deuce. 3 ~ film firm name of a German company operating in the motion picture business. hawk /hɔ:k/ n 1 strong, swift, keen-sighted bird of prey. the illus at prey. ʻ~ eyed adj having keen sight. 2 brand name of Vantage Film designating their superb anamorphic lenses. psu 3 /pi:esju: ˌƟri:ˈ/ 1 an exclamation of surprise, wonder, pleasure, or the like: ~! Look at that! v.t. 2 to gain an enthusiastic response from; thrill. n. 3 an extraordinary success. 4 the feeling of wow! cat a log /katʹl ôgʹ, -og/ n 1 a list or record, as of items for sale, systematically arranged and often including descriptive material. 2 something that contains such a list or record, as a book, leaflet, or file. 3 one of the most desirable ~s in use is the black Vantage book listing their superb film gear. For you it s an art. For us it s a science. 0185V_katalogDeckblatt_black.indd :14

2 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.

3 Vantage Film presents Behind every film, there is a good story. In much the same way, the leading characters of Vantage Film have their own tales to tell. Come and meet Peter Märtin and Wolfgang Bäumler, the company founders, and the directors that help them make Vantage Film one of the premier rental houses and producers of cine lenses and tools in the industry. They are Andreas Teichner, Jindrich Cipera, Alexander Schwarz, Alexander Bscheidl, and Jim Bouchie. Their backgrounds vary, but they all share a passion and a desire to make great films. Peter Märtin. If I feel it could be better, I make sure we ll make it better. Peter Märtin s quality ethos and fierce dedication are driving factors behind Vantage s success. He expects great things, both from his team and from technology, and is personally committed to offering his clients the absolute best solutions. He is an Executive Director and a co-founder of Vantage film and has been fascinated by movies ever since his grandfather gave him his first Super 8 camera for his seventh birthday. When Märtin began shooting films professionally, he often felt frustrated with malfunctioning or poorly organized equipment. He knew he could do better. Now, every product and every service that Vantage Film offers is extensively analyzed to ensure it meets or exceeds filmmaker s expectations. Photo by Jon Fauer ASC 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 act on their suggestions. Since the film 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 and Peter Märtin are childhood friends and film enthusiasts. They founded Vantage Film in 1993 and share a passion for detail and perfection. They are both associate members of the American Society of Cinematographers (ASC). Cinec Award: The Cinec Award is the most important European prize for state-of-the-art film technology. Vantage has won this prestigious award five times to date. Cinec Award 2014 T1 VantageOne Spherical Lenses Cinec Award 2008 Hawk V-Lite Anamorphic Lenses Cinec Award 2004 Hawk mm/t2.5 Super Wide Angle Zoom Lens Cinec Award 2002 PSU-1 Digital Video Combo Cinec Award 2000 Hawk V-Series Anamorphics and the Hawk mm/ Telephoto Zoom Lens 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. At Vantage Film, he is an Executive Director and is responsible for the manufacturing of all the award-winning Hawk Anamorphic lenses (1.3x and 2x) and the Vantage One Spherical lenses. Devising and producing a product that nobody else offers is what makes Wolfgang Bäumler s day that and assembling a product which depends on the single twist of a screw for perfection. In order to keep the feel of the set fresh in his mind, he now and then takes a few days off to work with a second or even an underwater unit on an ambitious project. For him, film reflects, an ideal combination of art and technology. Wolfgang Bäumler Founder and Executive Director p01_1115

4 contacts VANTAGE film HQ Andreas Teichner. Photographer, camera assistant, DoP for documentary films and commercials when Andreas Teichner joined Vantage Film, he came with first-hand knowledge of what happens on the set and behind a camera and a fascination for well-told stories and richly-detailed universes. Andreas Teichner Senior Director, Operations, Rentals & Key Accounts andreasteichner@vantagefilm.com Tel Mobile Why did he change from making to equipping films? He does not see it as a dramatic change at all. Actually, now I am more involved than ever before since every good film starts with the right lenses and cameras, and I am involved in those decisions every day. He makes it his business to ensure that filmmakers get the best possible equipment for their situations and budgets. Teichner consistently prepares shipments that travel to the four corners of the Earth and has worked on projects shooting on all five continents. The perfection of our equipment, from the sophisticated technology down to the ingenious packaging makes me proud. Finding exactly the right configuration for any project is my way of bringing great stories to life. Alexander Schwarz. A set in the middle of nowhere, seven days of time, two tons of equipment. When Andrzej Bartkowiak, ASC, stepped in as DoP for the Louisiana-set thriller Trespass, he came on board with only one condition, I shoot with Hawk Anamorphics. Alexander Schwarz Senior Director, Key Accounts, Worldwide AlexanderSchwarz@vantagefilm.com Tel Mobile Schwarz met the challenge head-on. Feverishly, he selected, prepared, and shipped cameras, lenses, and accessories. Bartkowiak, the director, Joel Schumacher, and the crew agreed, Flying in not only the Hawks, but the full camera package was the only way to do it right. Alexander Schwarz holds a master s degree in computer science and helped develop Vantage Film s PSU video-assist system. He currently supports DoPs worldwide by providing tailor-made camera and lens packages containing of state-of-art Hawk Anamorphics and other highend Vantage products. He says, I make sure that our customers get the aesthetic quality and smooth workflow they desire. He is an associate member of the American Society of Cinematographers (ASC). p02_1115

5 Vantage Paris Alexander Bscheidl Director, Paris Tel Mobile Vantage Prague Jindrich Cipera Director, Prague jindrichcipera@vantagefilm.com Tel Mobile Vantage Berlin Alexander Bscheidl Vantage marked the starting point in my film career, says Alexander Bscheidl, whose history with the company began when he was a high school student, and Vantage Film was a start up intent on competing with the best. Vantage and its former intern grew side by side. As the company evolved, Bscheidl put in long hours as its first rental manager. Camera work with cinematographers like Vilmos Zsigmond, Hagen Bogdanski, and Gabriel Beristain further broadened his horizons and deepened his understanding of the industry. However, Bscheidl not only loves film, he also loves France and the French. He left Vantage on friendly terms and became a rental manager at the leading rental house in France. Bscheidl s pan-european network made him the candidate of choice to head up Vantage Film s coup de force: Vantage Paris. The facility, says Bscheidl, aims to combine the latest technology and personalized service to France and Western Europe. Jindrich Cipera. As a former focus puller, Jindrich Cipera understands when parts of an order may have been overlooked, and when he suspects that something might truly help the cinematographer, such as a set of diopters, he just sends them along. His proactive approach and his service philosophy are one of the primary reasons that Vantage Film, Prague has become the leading film equipment house in the Czech Republic. Cipera s team is reachable around the clock and supports filmmakers all over Eastern Europe. He says, Vantage Film is small, quick, and flexible. This is exactly what the film industry needs since changes and developments happen at such a fast pace. He goes on to say, Naturally, we are utterly committed to and highly experienced at providing the equipment and service our customers demand. That commitment translates into more than just filling orders. It is about building relationships with filmmakers and making sure that they have everything they need to complete their projects, whether they ordered it or not. Marco Susic. Marco Susic has been working in the film industry for over 25 years. His extensive experience as a focus puller has taken him to over 50 countries. He has worked with many well-known German and international cinematographers including: Peter Karl, Siegfried Steiner, Kurt W. Oelschlaeger, David Watkins, and Bruce Worral. Marco Susic Director, Berlin marcosusic@vantagefilm.com Tel Mobile He has extensive underwater experience and has used Hydroflex and Scubacam gear from Vantage for many years. He was impressed with Vantage s professional and friendly service paired with it high-end rental equipment and innovative products and knew immediately that he would fit perfectly into the customer-focused environment. Berlin is once again the film capital of Germany, and Vantage Film has given me the opportunity to be part of the team. Their cutting-edge technology and bespoke service are unparalleled. p03_1115

6 Vantage Cameras Arri Alexa Mini Alexa SXT, XT & Studio XR Arri Alexa Plus 4:3 & Alexa M Arri Amira Sony Alpha 7 Red Weapon Arricam Studio & Lite HD IVS Arriflex 435 HD IVS Arriflex 235 Bell & Howell Eyemo 35, Handcrank, 35 Quarz Arriflex 416 Alexa, Arriflex 416 and all 35 mm cameras are available in anamorphic setup. Vantage Lenses Vantage One Primes mm, all T1 Leica Summilux-C Primes mm Cooke S4 Primes mm incl. Cooke Soft Focus Attachment Cooke Mini S4 Primes mm Zeiss Master Primes mm Zeiss Ultra Primes 8R 180 mm Hawk 65 Anamorphics Hawk V-Lite Anamorphics Hawk V-Lite Vintage 74 Enhanced Flares Hawk V-Plus Anamorphics Hawk V-Plus Front Anamorphic Zooms Hawk V-Series Anamorphics Hawk C-Series Anamorphics Hawk V-Lite16 Anamorphics Hawk V-Lite 1.3x Squeeze Anamorphics MiniHawks Angénieux Zooms Optimo mm/t2.6, mm/t2.6, mm/,17-80 mm/, mm/ Arri Fujion Alura Zooms mm/t2.6, mm/t2.6 Hawk mm/t2.5 Super Wide Angle Zoom Lens Hawk mm/ Zoom Lens, incl. 0.7x Reducer Cooke mm/t2 Zoom Lens Vantage mm/ Lightweight Zoom Lens Zeiss mm/t2.6 Lightweight Zoom Lens Zeiss Variable Primes VP1 VP3 Vantage 6 mm 220 Fisheye for 35 mm Nikon 8 mm Fisheye Nikon Telephoto Lenses Canon Telephoto Lenses Century Telephoto Lens 1000 mm/t5.6 Arri Macro Lenses mm Leitz Macro Lenses mm Arri Tilt Focus Lenses Arri Shift/Tilt Lenses Clairmont Swing/Shift Lenses Lens Baby PL Zeiss HS Primes uncoated mm Bausch & Lomb Super Baltar Lenses mm Canon K35 Aspherical High Speed Lenses mm Cooke Speed Panchro Lenses mm Kinoptik-Paris Lenses mm Kowa Cine Prominar Lenses mm Kowa Anamorphic Lenses mm Low Angle Prism Compact Prism Periscopes Snorkels T-Rex High Speed T-Rex Mini-T-Rex Isco Specimagine Long Distance Macro System Vantage 2 mm Mini Macro Lens Vantage Accessories Arri LCS Wireless Arri WCU-4 Arri SXU-1 Cmotion Cvolution Lens Control Preston LCS Arri WRC-1 & 2 Arri RCU-4 Cine Tape Measure System Cine Remote Kit Rain Deflectors Crash Housings Vantage Blue-Vision EXP Vantage White-Vision EXP Bethke Effect Vantage Glare-Effect Vantage Pola Frames MB-Flex Arri HCC-1 Hand Crank Controller for 435 Advanced Arri 435 and Arricam Timing Shift Boxes Teradek Bolt Teradek Bolt Pro 2000 Meridian Boxx CanaTrans White Space Navtech Rover Preston Radio Controlled Camera Light Kinoflo Kamio Ring Light Lite Panels Two Lite Clairmont Image Shaker Vantage PSU-3X PSU Satellite PIX 240 Nauticam Alexa Mini Underwater Housing Hydroflex & Scubacam Underwater Housings Remote Aquacam, Hydrohead and Hydroflex Underwater Lighting Vantage Grip Camera Shaker Vibration Isolator Cartoni Airfloater Swing Head Dutch Head Boogie Head Arrihead 1 + 2, Reduction Gears E-Gearing OConnor 2060 and 2575C/D Heads Ronford Atlas 7 & F7 Head Cartoni Lambda Head Weaver Steadman 3 Axis Head Skater Mini, Skater Motor Control, Skater Tilt Module Kenyon Gyro Stabilizing Kit Easy Rig Dual Camera Rig Ladder Pod Cine Saddle V-Bag Steadibag p04_1115

7 hawk /hɔ:k/ n 1 strong, swift, keen-sighted bird of prey. the illus at prey. ʻ~ eyed adj having keen sight. 2 brand name of Vantage Film designating their superb anamorphic taking lenses. anamorphics /anʹe môrʹfiks/n pl. motion picture lenses which give different focal lengths in mutually perpendicular directions to the optical axis. (the magnification of a subject in the horizontal direction may be one half of the value in the vertical direction). Hawk ~ are the most sophisticated type of these special lenses.

8 WHY WE MAKE HAWKS THE WAY WE DO If you want to design new lenses, you have to consider the characteristics of the format for which it will be used. You have to separate problems from what you want to protect or enhance. For example, if you are renovating an old church, you probably don t want to do it too perfectly. Maybe you see an old stone wall, and you say, It s not perfect but of course, that s the beauty of it. We are very deliberate about where there is room for improvement, such as speed, close focus, lens size, definition (at the top, bottom, and corners), matching lens sets, and so on. There is always room to improve, but, just as architects recognize what to keep and what to preserve when working on an older structure, we design and craft our lenses with the same understanding; the distinct character of the anamorphic format must be preserved. We design and build Hawk Anamorphic Lenses. Most lenses today are well made. Following the same path of only making sharper and better lenses was not sufficient. A sharper lens does not automatically become a powerful, new tool for a cinematographer. Of course, sharpness is good to have, and Hawk lenses have extremely good definition and sharpness, but that is only part of the picture. When we started in the 90s, more than 40 years had already gone into development of anamorphic lenses, but aspects of these lenses were still far from perfect. Lenses did not focus closely enough; they were too big, and you could see focus falling off quite easily. We wanted to improve those things. An anamorphic lens, with its squeezing cylinder, develops a fingerprint which is unique. We try to keep that in our designs. When we see elliptical bokehs or slightly curved geometry, we don t regard them as defects that have to be eliminated. On the contrary, we understand that those are part of the language of anamorphic. If you photograph with spherical lenses, the image can seem flat and without surprises. Anamorphic is like a roller coaster. When watching an anamorphic film, you probably would not be obsessing over line pairs in the very far corners of the screen. Hopefully, you are immersed in the story, dazzled by the widescreen cinematography, and embraced by the image. We have to recognize and accept that audiences love the many famous anamorphic films out there; all made using classic anamorphic lenses. We applaud the qualities that make those films classics, and those qualities are closely connected to lens characteristics, such as the curvature or a little bit fall-off in the corners which create that anamorphic fingerprint. If designers try to improve one of these lenses, they have to be careful not to improve everything. Otherwise, the distinct anamorphic fingerprint is lost. The anamorphic look emphasizes the in-focus part of the image because there s a larger separation from the out-offocus, so the in-focus portion automatically looks sharper, crisper, and more appealing. The eye likes to be cued by 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 sharpness, sometimes unsuccessfully. It s not always a pleasant experience. But in anamorphic, the in-focus area is easy to see. The second characteristic is how the out-of-focus areas look. The bokeh is completely different with an anamorphic lens. The out-of-focus highlights are oval and are created by the curvatures of the anamorphic lens element. A spherical lens photographs everything as it is and tries to reproduce it as faithfully as possible. The anamorphic lens interprets reality. It tells us how the reality might look, but it s not recording the reality. Why is this format loved? Because of the organic look not because things have been corrected the way we expect them to be on spherical lenses. When we make the Hawks, we improve certain parameters which we feel are lacking, but we do not try to improve out some of the original characteristics like curvature. Most of our lenses focus down to two feet, remarkably close for anamorphics, and we have several lenses where you can focus to the front glass element, yet all our lenses are designed to preserve that unmistakable anamorphic look. Hawk is a family of lenses. Everything is assembled in our facility in Weiden, about 1.5 hours north of Munich. We produce many parts for our lenses, and all the parts come from Germany most from within 100 miles. Iris and focus rings are all in the same position. We have internal focusing (cams and cam followers). There are basically two front diameters, one for the wide lenses in the V-Lite series and one for the medium and long ones. You can easily attach clip-on matte boxes, and 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 precisely. The connection of the PL mount to the lens is unique in the Hawks. No screws directly penetrate the lens body. The PL mount is attached to an L-shaped stainless steel bracket that is held by a ring to the lens, resulting in the sturdiest construction in the industry. The Hawk design is the only design that has parallax-free witness marks on both sides. The focus ring and the barrel with the witness mark are on the same plane. We use a unique paint on the lens, which has a matte finish. It s a special industrial paint that is baked on after glasspearl blasting and anodizing. We then apply high-contrast, highly-visible yellow paint to the engraved lens markings. The serial number is positioned prominently in order to find it easily since it is often needed for delivery notes. Plaques mounted on both sides of each lens unmistakably display the focal length for quick identification. All of these details are designed to improve an assistant s ability to work quickly and effectively on or off the set. Our custom-designed lens cases hold both lenses and accessories. These cases are very small and are designed for locations, studios, and camera trucks, and the cases use minimal room on an assistant s cart. These cases then fit into larger, tougher cases for shipping. Camera crews want small cases, but shipping requires more foam, more protection, hence larger cases. A&J Cases in Los Angeles produces all our cases, and so far, they have built over 3500 cases for us. A rental house is not a laboratory. If you have to open up a lens, it should not be sealed in a way that you would have to send it back to the factory for repair just to maintain tight tolerances. A lens designer should consider parameters appropriate to our business and avoid making overly complex lenses that are difficult to service. Our mechanical design ensures that maintenance is easy for rental houses even with limited possibilities. In addition to primes, we make front anamorphic zooms. Rear anamorphic zooms (and primes) do not have oval bokehs or the classic look. Because the cylinders are at the rear, they stretch the image vertically in a process similar to using a 1.4x or 2x extender but only on one axis. The image is already made by the taking lens; it s an aerial image. You cannot influence it because stretching takes place after the lens. You cannot influence how the bokeh or distortions look from the back. Hawks are all the same family of lenses. They are made by one company and one group of designers us. That s why they match so well. Camera crews do not have to hand pick our lenses so that the lenses match. Problems in matching occur with sensitive designs and when lenses suffer from wear and tear, but the Hawk design is highly robust, so every 50mm lens will be the same. This is also true for every 65 mm lens and so on. We consider cinema lenses as tools for a rental business. Lenses are constantly shipped forth and back, and they have to be serviced by rental houses. We took that into consideration and developed a robust, not overlydesigned, straight-forward, mechanical concept for the Hawks. Once a lens is manufactured and assembled, it will maintain its quality over its lifespan. We did not want our Hawks to look good on paper but give us trouble in manufacturing. We also did not want our lenses to run into problems while on productions because they could not be serviced easily. Preventing downtime and delay on the set while providing cinematographers with exciting anamorphic tools is our goal. We make Hawks to improve on the tradition of anamorphic lenses and provide cinematographers with the tools that help them do what they do best create art. p05_1115 Made in Germany by Vantage Film GmbH

9 True Anamorphic Cinematic Quality for both Film and Digital Anamorphic lens systems are a favourite with filmmakers and film enthusiasts. Due to their specific construction, they add unique characteristics to the shots. According to what one frequently reads about anamorphic lenses, they are popular for a variety of reasons: the large negative size of the anamorphic picture; the shallow depth of field produced by the longer focal lengths; the elliptical blur which arises in the out of focus parts or even the barrel distortion of the wider anamorphics (many DPs like anamorphics especially for that effect). While all these reasons are perfectly valid, one basic difference between spherical lenses and anamorphic lens systems is often forgotten: the way in which images are captured. Anamorphic lens designs use two focal lengths in one system: a longer focal length for the vertical part of the image and a shorter one for the horizontal part (2x or 1.3x). This leads to pictures with more depth and more three dimensional character. Unlike the higher definition this character is preserved over all generations: It is irrelevant if a film is seen on the big screen of a theater or a small clip on your smart phone. Today there are no significant 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 area) and therefore a lower magnification factor. Vantage Film has focused its efforts on de velop ing products which substantially advance anamorphic tech nology: Hawk Anamorphic Lenses were developed to be fully adaptable to both film and digital systems. The Hawks are available as 2x or 1.3x Squeeze Lenses. Hawk V-Plus and V-Lite lenses are fully matched. They are com plete ly free of flares and aberrations. The close focus capability was improved and sets a new standard for anamorphic lenses. The internal non linear focus mechanism or the 15 blade iris apertures were developed for the sole purpose of pushing the performance of the Hawks even further. Vantage continuously develops new products for anamorphic shooting and only recently expanded its production capacity to meet the ongoing heavy demand for Hawk lenses. The highly complex process of manufacturing lenses with cylindrical elements requires precision that has only been mastered by few companies worldwide. Whether you use film or digital formats, Hawk Anamorphic Lenses are the right choice. The image quality will fascinate audiences, the production value will improve, and the artistic worth will be protected for generations. p06_1115 Made in Germany by Vantage Film GmbH

10 Hawk V-Plus Ten Primes Two Zooms 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: The Hawk V-Plus range consists of 10 prime lenses 35, 40, 50, 65, 75, 85, 100, 120, 135, and 150mm plus two zooms 45-90mm/ and mm/. This set includes the Hawk 65mm as an associate to the Hawk 120mm/T3 Super Close Focus, and the Hawk 85mm with a close focus of 0.6m/2 that fills the gap between the popular Hawk 75mm and the Hawk 100mm lenses. The medium telephoto lens Hawk 150mm has a close focus of 1m/3 6. Later, the set will be extended with a new super-wide angle prime, a wide-angle macro lens, and two extreme telephoto lenses, which are in the calculation process at the moment. Improved Optics Although previous Hawk lenses were already exceptional, further improvements enhanced this series of lenses. The efforts focused on improving the capability of the lenses to handle extremely high contrasts. The manufacturing process of the optical components was optimized in several ways, and the new lenses are fully matched to all other Hawk Anamorphics. Vantage uses telecentric designs for all Hawk V-Plus optics, and these lenses perform equally well on film and digital cameras. Masking Hawk V-Plus lenses were the first cine lenses to mask the out of image area. The system consists of three strategically positioned masks within the lens: one mask at the front of the lens, a second mask positioned before the cylindrical elements, and the third mask at the rear of the element. The cut outs of those masks are tailor made for every lens according to its optical calculations. Less Weight The weight of every lens has been reduced by up to 20%. Focus Scale The focus scale is ergonomically optimized with an equal, parallax-free reading quality on both sides of the lens. The ease of reading has been enhanced using special engraving techniques. A highprecision, modern electromechanical/optical projection system is used to calibrate the focus scales. V-Plus distance scales are optimized for adjustments during camera prep, and a rental house can easily re-calibrate the distance scales without disassembling the lens. The feet or meter distance scales can be exchanged without removing the lens support bracket. The gear ring has been reduced in diameter in order to receive a more direct transmission of the follow focus and is, therefore, better protected. The position of the follow focus has also been moved back to the camera in order to optimize the focusing. p07_1115 Made in Germany by Vantage Film GmbH

11 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 the most cinematic film format. But previous anamorphic zooms lacked the true flavor of anamorphic prime lenses 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 large size of zoom lenses. But the spherical taking lens meant that the anamorphic elements could not wield their unique influence on the image. The resulting image was 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 element in front of the spherical elements. The resulting image displays all the anamorphic blur, shallow depth of field, elliptical highlights, streaks and flares, geometric curvature and barrel distortion, and distinct planes of focus cinematographers expect from anamorphic primes. The challenge demanded a smaller spherical zoom lens. Vantage s first breakthrough toward the creation of a true anamorphic zoom was dramatically decreasing the size of this lens. The company s policy of controlling and creating every element with specific design goals in mind paid 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 additional convenience and flexibility on the set. Overall, the Hawk Front Anamorphic Zooms give filmmakers a tool with all the anamorphic qualities they would expect from anamorphic primes with the flexibility of a zoom. The Hawk Front Anamorphic Zoom Lenses are built to the exacting, robust standards of all Hawk lenses. Hawk V-Plus mm/ and mm/ These lenses intercut seamlessly with the entire line of Hawk anamorphic primes. Vantage has brought their uncompromising technical standards, unparalleled design expertise, and precision manufacturing to bear on this addition to the Hawk family of lenses. Focal Length Stop CfD Angle of View m ft horizontal vertical mm - T mm - T Made in Germany by Vantage Film GmbH

12 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 / Hawk V-Lite 35 mm / Hawk V-Lite 45 mm / Hawk V-Lite 55 mm / Hawk V-Lite 65 mm / Hawk V-Lite 80 mm / Hawk V-Lite 110 mm / T3 Hawk V-Lite 140 mm / T3.5 High performance optics Although the current Hawk lenses already perform exceptionally well, further improvements have been achieved. The center of efforts was to minimize distortion and to increase definition and contrast over the entire image. The manufacturing process of the optical components has been further optimized in several aspects. The new lens set is fully matched to all other Hawk Anamorphics. Analog & Digital Vantage uses telecentric designs for all Hawk V-Lite optics. These lenses perform equally on film and digital cameras. Constant T-Stop The engraved T-Stops on the Hawk V-Lite lenses are constant from infinity to close focus. Contrary to other lenses, there is no light loss while focusing. The maximum light transmission is maintained throughout the whole focusing range. for adjustments during camera prep. The rental house can easily re-calibrate the distance scales without disassembling the lens. The gear ring has been reduced in diameter in order to receive a more direct transmission of the follow focus and is therefore better protected from damage. The position of the follow focus has also been moved back to the camera in order to optimize focusing. New labeling concept A new labeling concept makes it easier to distinguish the different focal lengths. Every lens is marked clearly with the corresponding focal length on both sides. Also the serial numbers have been prominently placed to help with lens identification. No electronics The new Hawk V-Lite Anamorphics have no electronic components at all and their mechanical construction is extremely reliable. 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 internal reflections within the 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 p09_1115 Made in Germany by Vantage Film GmbH

13 V-Plus/V-Lite Hawk Anamorphic - Technical Data Lens Focal Length Stop CfD Angle of View Weight Front m ft horizontal vertical kg Ibs Diameter Overall Length Min. Filter Size Hawk V-Plus Anamorphics V-Plus mm T T mm 187 mm 6.6x6.6 V-Plus mm T T mm 202 mm 6.6x6.6 V-Plus mm T T mm 202 mm 4x5.65 V-Plus mm T 3 - T mm 252 mm 40.5 mm V-Plus mm T T mm 238 mm 4x5.65 V-Plus mm T T mm 250 mm 4x5.65 V-Plus mm T T mm 325 mm 4x5.65 V-Plus mm T T mm 333 mm 40.5 mm V-Plus mm T 3 - T mm 325 mm 4x5.65 V-Plus mm T 3 - T mm 323 mm 4x5.65 V-Plus 2: mm T T mm 280 mm 4x5.65 V-Plus 2: mm T T mm 430 mm 4x5.65 Hawk V-Lite Anamorphics V-Lite mm T T mm 137 mm 4x5.65 V-Lite mm T T mm 170 mm 4x5.65 V-Lite mm T T mm 154 mm 4x5.65 V-Lite mm T T mm 156 mm 4x5.65 V-Lite mm T T mm 160 mm 4x5.65 V-Lite mm T T mm 185 mm 4x5.65 V-Lite mm T 3 - T mm 200 mm 4x5.65 V-Lite mm T T mm 220 mm 4x5.65 Technical specifications are subject to change without notice Hawk Anamorphic - recommended Panning Speeds For static scenes 180 shutter & various degrees of sweep Example: 60 pan with 100 mm Hawk V-Plus lens should take 18 seconds Focal Length of Hawk Anamorphic Lens 28 mm mm mm mm mm mm mm Panning Angle 30 Panning Speed in seconds p10_1115 For further information contact Vantage Film, Phone , Fax , Hawk, Hawk Anamorphic, are registered trade-marks of VANTAGE FILM GmbH, Germany,

14 V-Series/C-Series Hawk Anamorphic - Technical Data Lens Focal Length Stop CfD Angle of View Weight Front m ft horizontal vertical kg Ibs Diameter Overall Length Min. Filter Size Hawk V-Series Anamorphics V mm T T mm 135 mm 6.6x6.6 V mm T T mm 188 mm 6.6x6.6 V mm T T mm 187 mm 6.6x6.6 V mm T T mm 202 mm 6.6x6.6 V mm T T mm 202 mm 4x5.65 V mm T T mm 213 mm 4x5.65 V mm T T mm 238 mm 4x5.65 V mm T T mm 325 mm 4x5.65 V mm T 3 - T mm 325 mm 4x5.65 V mm T 3 - T mm 407 mm 4x5.65 V mm T 3 - T mm 46m 4x5.65 V mm T T mm 486 mm 4x5.65 V mm T 4 - T mm 377 mm 6.6x6.6 V mm T 4 - T mm 672 mm 48 mm Hawk C-Series Anamorphics C mm T T mm 143 mm 4x5.65 C mm T T mm 16m 4x5.65 C mm T T mm 180 mm 4x5.65 C mm T T mm 188 mm 4x5.65 C mm T 3 - T mm 218 mm 4x5.65 C mm T 4 - T mm 192 mm 4x5.65 Technical specifications are subject to change without notice Hawk Anamorphic recommended Panning Speeds For static scenes 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 mm mm mm 75 mm 100 mm 135 mm 180 mm 250 mm 350 mm Panning Angle 30 Panning Speed in seconds p11_1115 For further information contact Vantage Film, Phone , Fax , Hawk, Hawk Anamorphic, are registered trade-marks of VANTAGE FILM GmbH, Germany,

15 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. Hawk Vintage 74 thoroughly modern lenses that deliver the recognizable patina of those films we love from the 1970s. 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 originally limitations flares, reflections, certain contrast and color characteristics and more put to use by cinematographers as storytelling tools. Our idea was to update these lens traits, making these imaging tools available in a lens that comes with all the upgrades in design and ease of use that camera crews have come to The Hawk Vintage 74 Lenses deliver the lower contrast and chromatic and flare characteristics of older, 1970s lenses, but with precise, modern mechanics and the dependability, sharpness and consistency of all current Hawk lenses. depend on over the last 40 years. We researched the types and methods of coating used in these lenses from the 1970s, and undertook a series of experiments designed to recreate the effect. Modern optics meant that our recipe varied from the older lenses, which often used only one or two layers of coatings. Modern coating techniques often employ as many as seven layers. After two years of tests, we arrived at a combination of coatings and lens elements that achieves our goal: a thoroughly modern lens that delivers the recognizable patina of those films we love from the 1970s. p12_1115 Made in Germany by Vantage Film GmbH

16 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 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 mm/ and mm/ Front Anamorphic Zoom Lenses deliver lower contrast and chromatic and flare characteristics of 1970s lenses with modern mechanics and the dependability, sharpness and consistency of all current Hawk lenses. CfD Angle of View Focal Length Stop m ft horizontal vertical mm T2.9 - T mm T2.9 - T p13_1115 Made in Germany by Vantage Film GmbH

17 V-Lite Vintage 74 Hawk Anamorphic - Technical Data Lens Focal Length Stop CfD Angle of View Weight Front m ft horizontal vertical kg Ibs Diameter Overall Length Min. Filter Size Hawk V-Lite Anamorphics Vintage 74 V-Lite mm T T mm 137 mm 4x5.65 V-Lite mm T T mm 170 mm 4x5.65 V-Lite mm T T mm 154 mm 4x5.65 V-Lite mm T T mm 156 mm 4x5.65 V-Lite mm T T mm 160 mm 4x5.65 V-Lite mm T T mm 185 mm 4x5.65 V-Lite mm T T mm 200 mm 4x5.65 V-Lite mm T T mm 220 mm 4x5.65 Hawk V-Plus Anamorphics Vintage 74 Zooms V-Plus 2: mm T T mm 280 mm 4x5.65 V-Plus 2: mm T T mm 430 mm 4x5.65 Technical specifications are subject to change without notice additional lenses will follow The Hawk Vintage 74 Lenses are thoroughly compatible with motordriven 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 For further information contact Vantage Film, Phone , Fax , Hawk, Hawk Anamorphic, are registered trade-marks of VANTAGE FILM GmbH, Germany,

18 Comparison of Modern Film Formats Hawk Anamorphic: 2x squeeze Digital & Analog 2x The Hawk 2x Anamorphics support a wide range of cameras and release formats. The following table gives an overview of the main differences between anamorphic and spherical shooting. Format Used Image Area Advantages Disadvantages Camera Systems Anamorphic 2.40 Scope 2x 409 mm 2 Highest image quality, elegant framing, represents high production value, high speed film stock applica ble, less depth of field, daily rushes show final quality of release prints, largest sensor/negative area, all dupe negatives and prints with low cost contact printing, ultimate format for theatrical release, ideal format for HDTV release. Limited availability of required anamorphic lenses and adapted camera equipment. Arri Alexa 4:3 Sony F55 * /F65 * Red Epic/Scarlet * / Dragon * /Weapon * Canon C500 PL * Canon 1D/ 7D PL * 4-perf film Super spherical 245 mm 2 Standard lenses and cameras widely available. Lower image quality, flat look, high speed film stock not applicable, shorter lenses, smallest sensor/negative area of all 35mm formats, expensive DI process required. Arri Alexa * 16:9 Arri Amira Sony F55 * /F65 * Red Epic/Scarlet * / Dragon/Weapon Canon C500 PL * Canon 1D/7D PL * 3-perf film * * 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 the vertical part of the image and a shorter one for the horizontal part. This leads to pictures with more depth and more three dimensional character. It is irrelevant if a film is seen on a large screen in a theater or on your smart phone. This character is preserved over all generations. Today, there are no significant 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 area) and therefore a lower magnification factor. Whether you use film or digital formats, Hawk Anamorphic Lenses are the right choice. The image quality will fascinate audiences, the production value will improve, and the artistic worth will be protected for generations. p15_1115 Made in Germany by Vantage Film GmbH

19 anamorphic lenses Lens Focal L./T-Stop Cfd hawk v-lite anamorphics Lens Focal L./T-Stop Cfd hawk V-lite vintage 74 anamorphics 11/2014 Hawk V-Lite 28 Hawk V-Lite 35 Hawk V-Lite 45 Hawk V-Lite 55 Hawk V-Lite 65 Hawk V-Lite 80 Hawk V-Lite 110 Hawk V-Lite 140 hawk v-plus anamorphics 28 mm / 35 mm / 45 mm / 55 mm / 65 mm / 80 mm / 110 mm / T3 140 mm / T cm Hawk V-Lite 28 Hawk V-Lite 35 Hawk V-Lite 45 Hawk V-Lite 55 Hawk V-Lite 65 Hawk V-Lite 80 Hawk V-Lite 110 Hawk V-Lite 140 Hawk V-Plus 2:1 Zoom Hawk V-Plus 2:1 Zoom 28 mm / T mm / T mm / T mm / T mm / T mm / T mm / T mm / T mm/t mm/t cm 75 cm Hawk V-Plus 35 Hawk V-Plus 40 Hawk V-Plus 45 1 Super Close Focus Hawk V-Plus 50 Hawk V-Plus 65 Super Close Focus Hawk V-Plus 75 Hawk V-Plus 85 Hawk V-Plus 100 Hawk V-Plus 120 Super Close Focus Hawk V-Plus 135 Hawk V-Plus 150 Hawk V-Plus 2:1 Zoom Hawk V-Plus 2:1 Zoom hawk v-series anamorphics Hawk V-Series Diopters Hawk V-Series 30 Hawk V-Series 35 Hawk V-Series 40 Hawk V-Series 50 Hawk V-Series 60 Hawk V-Series 75 Hawk V-Series 100 Hawk V-Series 135 Hawk V-Series 180 Hawk V-Series 250 Hawk V-Series x Extender for APL 250 Hawk V-Series 5:1 Zoom Hawk V-Series 3:1 Zoom hawk C-Series anamorphics Hawk C-Series 40 Hawk C-Series 50 Hawk C-Series 60 Hawk C-Series 75 Hawk C-Series 100 Hawk C-Series 3:1 Zoom hawk v-lite16 anamorphics Hawk V-Lite16 14 Hawk V-Lite16 18 Hawk V-Lite16 24 Hawk V-Lite16 28 Hawk V-Lite16 35 Hawk V-Lite 45 Hawk V-Lite 55 Hawk V-Lite 65 Hawk V-Lite 80 Hawk V-Lite 110 Hawk V-Lite mm / 40 mm / 45 mm / T3 50 mm / 65 mm / T3 75 mm / 85 mm / 100 mm / 120 mm / T mm / T3 150 mm / T mm/ mm/ 25 mm / 30 mm / 35 mm / 40 mm / 50 mm / 60 mm / 75 mm / 100 mm / 135 mm / T3 180 mm / T3 250 mm / T3 350 mm / T mm/t mm/t4 40 mm / 50 mm / 60 mm / 75 mm / 100 mm / mm/t4 14 mm / T mm / T mm / T mm / T mm / T mm / 55 mm / 65 mm / 80 mm / 110 mm / T3 140 mm / T cm 75 cm 40 cm 60 cm 40 cm 60 cm 60 cm 40 cm 75 cm 60 cm 80 cm 75 cm 75 cm 60 cm 60 cm 60 cm 2 m 2 m 2 m 40 cm 3 m 80 cm Lens Various anamorphic Lenses Angénieux/Hawk 12:1 Optimo Angénieux/Hawk 6:1 Zoom Angénieux/Hawk 10:1 Zoom Canon/Hawk 600 Canon/Hawk 800 Canon/Hawk 1000 Canon/Hawk 1600 Century/Hawk 2000 Nikon/Hawk 400 Nikon/Hawk 600 High Speed Nikon/Hawk 600 Nikon/Hawk 800 Nikon/Hawk 1200 Slant Focus/Hawk 90 Slant Focus/Hawk 180 Swing-Shift System/Hawk T-REX Superscope/Hawk Hawk Rear Attachment doubles the focal length, minus one stop Hawk Rear Attachment Optimo doubles the focal length, minus one stop anamorphic View finders Focal L./T-Stop mm / T mm / T mm / T mm / T4 800 mm / T mm / T mm / T mm / T8 400 mm / T3 600 mm / T3 600 mm / T4 800 mm / T mm / T mm / T4 180 mm / T4 100 mm / T mm / T4 220 mm / T3.5 20, 28, 35, 50, 80, 150 mm/t8 Anamorphic View Finder for Arricam Studio Anamorphic View Finder for Arricam Lite Anamorphic View Finder for Arriflex 535B Anamorphic View Finder for Arriflex 435 Anamorphic View Finder for Arriflex 235 Anamorphic View Finder for Arriflex 416 Anamorphic Ground Glass + Glow + Format Mask for Arricam/Arriflex Anamorphic Eyepiece for Moviecam Compact Anamorphic View Finder Ext. for Moviecam Compact Anamorphic View Finder for Moviecam SL Anamorphic Ground Glass + Gate for Moviecam Accessories Directors Finder Anamorphic Arri FF-3/4 Follow Focus modified for use with Hawk V-Series FF-4 Conversion Kit only (Follow Focus not supplied) Wide Focus Gear for LCS use with Hawk C-Series Arri MB-28V Matte Box with Hybrid Filter Stage 4 x x 6.6 Arri MB-14W Matte Box with 2-Filter Stage for Hawk V-Series 25/30mm Set of Hawk Mattes for MB-14 Arri LMB-4 Clip-on Matte Box modified f. Hawk V-Series Hawk Compact Matte Box for Hawk C-Series Anamorphic Format Converter (for Video Assist) p16_1115

20 Anamorphic Comparison table Angle of view Hawk Anamorphics compared to Spherical Lenses 2x Hawk Anamorphic Hawk Anamorphic Spherical Lenses 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 p17_1115 Made in Germany by Vantage Film GmbH

21 Hawk V-Lite Anamorphics Vantage introduces a new motion picture film format 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/ Hawk V-Lite 1.3x 24 mm/ Hawk V-Lite 1.3x 28 mm/ Hawk V-Lite 1.3x 35 mm/ Hawk V-Lite 1.3x 45 mm/ Hawk V-Lite 1.3x 55 mm/ Hawk V-Lite 1.3x 65 mm/ Hawk V-Lite 1.3x 80 mm/ Hawk V-Lite 1.3x 110 mm/t3 Hawk V-Lite 1.3x 140 mm/t3.5 Additional lenses will follow. The advent of digital cameras, the use of digital postproduction and DI processes, and newer film formats, such as 3 perf have created a growing demand for cutting edge lens technology. The Hawk V-Lite 1.3x Anamorphic lenses give filmmakers the opportunity to use true anamorphic format with newer film and sensors and 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. 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 maximum image quality combined with a very pleasant emotional effect. No matter which format you ultimately decide on, the new Hawk V-Lite 1.3x Anamorphics use 33% more sensor/ negative compared to standard spherical lenses. The new lenses are designed from scratch and set a high benchmark for all other existing lens systems. Along with the new Hawk lenses, Vantage developed new anamorphic viewfinders for all Arricam TM and Arriflex TM cameras. Also, our PSU HD video assist systems have been upgraded to desqueeze the 1.3x images. The lenses can be used with following cameras/formats: Arri Alexa 16:9/Amira Sony F55/F65 Red Epic/Scarlet Canon C500/1D/7D PL 3-perf film 16 mm film 1:1.85 nearly the entire sensor/negative area 1:2.40 Furthermore, the new lenses allow shooting with 4:3 negative/sensor area and stretch it to 1:78 for 16:9 HDTV release. With an Arri Alexa Studio or 4-perf film, the full 4:3 sensor/negative area can be used for 16:9 filming. Arri Alexa 4:3 Canon C500/1D/7D PL Pillar Box 4-perf film 4:3 full sensor 1:1.33 full frame 16:9 Broadcast 1:1.78 release 1:1.85 Theatrical release The V-Lite 1.3x 28 mm/ 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 set can be filtered using clip-on matte boxes with up to three 4x5.65 filters. A specially designed set of multicoated Vantage 4x5.65 Slide-in diopters extends the close focus range to high performance macro work. p18_1115 Made in Germany by Vantage Film GmbH

22 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, but they cannot deliver the unique and distinctive language of true anamorphic. They lack the true anamorphic qualities of prime lenses in part because they are designed and built with the anamorphic elements at the back end, behind the spherical elements. Originally, rear anamorphics were developed because of the large size of zoom lenses, but the spherical taking lens meant that the anamorphic elements could not wield their unique influence on the image. The resulting image was squeezed to the proper standard, but it lacked the Scope traits filmmakers desire for 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 element in front of the spherical elements. The resulting image displays all the anamorphic blur, shallow depth of field, elliptical highlights, streaks and flares, geometric curvature and barrel distortion, and distinct planes of focus cinematographers expect from anamorphic primes. To begin with, the challenge demanded a smaller spherical zoom lens. Vantage began by achieving breakthroughs in size. Here the company s policy of controlling and creating every element with specific design goals in mind paid dividends once again. The resulting 1.3x Squeeze front anamorphic construction delivers excellent close focus ability, giving cinematographers additional convenience and flexibility on the set. Hawk V-Plus mm/ Front Anamorphic Zoom Lens, cfd 0.6 m/2 Hawk V-Plus mm/ Front Anamorphic Zoom Lens, cfd 0.75 m/2 6 These new lenses intercut seamlessly with our entire line of 1.3x Squeeze anamorphic primes. Vantage has brought their uncompromising technical standards, unparalleled design expertise, and precision manufacturing to bear on this newest addition to the Hawk family of lenses. Hawk V-Plus mm/ Front Anamorphic Zoom Lens, cfd /3 3 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 HDTV release. No matter which format you ultimately decide on the new Hawk 1.3x Anamorphics use 33% more sensor/negative compared to standard spherical lenses. p19_1115 Made in Germany by Vantage Film GmbH

23 V-Lite/V-Plus 1.3x Hawk Anamorphic 1.3x SQUEEZE - Technical Data Lens Focal Length Stop CfD Angle of View Weight Front m ft horizontal vertical kg Ibs Diameter Overall Length Min. Filter Size Hawk V-Lite Anamorphics SQUEEZE V-Lite mm T T mm 145 mm 6.6x6.6 V-Lite mm T T mm 145 mm 4x5.65 V-Lite mm T T mm 137 mm 4x5.65 V-Lite mm T T mm 170 mm 4x5.65 V-Lite mm T T mm 154 mm 4x5.65 V-Lite mm T T mm 156 mm 4x5.65 V-Lite mm T T mm 160 mm 4x5.65 V-Lite mm T T mm 185 mm 4x5.65 V-Lite mm T 3 - T mm 200 mm 4x5.65 V-Lite mm T T mm 220 mm 4x5.65 Hawk V-Plus Anamorphics SQUEEZE V-Plus 2: mm T T mm 310 mm 6.6x6.6 V-Plus 2: mm T T mm 280 mm 4x5.65 V-Plus 2: mm T T mm 430 mm 4x5.65 Technical specifications are subject to change without notice additional lenses will follow Hawk V-Lite 1.3x and Hawk V-Plus 1.3x 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 (e.g. Arri Alexa, Sony F65) to achieve the popular 1:2.40 release format. The Hawks compress the wider image to the size of the smaller sensor. No top/bottom cropping of the sensor is required. That means: Maximum image quality will be achieved. The new set of lenses also supports recording on the entire 4:3 negative/sensor area. The format will be stretched to 1:78 for 16:9 HDTV release. Thus, with an Arri Alexa Studio or 4-perf film, the full 4:3 sensor/negative can be used for 16:9 filming. The lenses can be used with the following cameras/formats Camera System Capturing Format/Release Format Arri Alexa 16:9/Amira Sony F55/F65 Red Epic/Scarlet Canon C500/1D/7D PL 3-perf film 16 mm film 1:1.85 nearly the entire sensor/negative area 1:2.40 Arri Alexa 4:3 Canon C500/1D/7D PL Pillar Box 4-perf film 4:3 full sensor 1:1.33 full frame 16:9 Broadcast 1:1.78 release 1:1.85 Theatrical release p20_1115 For further information contact Vantage Film, Phone , Fax , Hawk, Hawk Anamorphic, are registered trade-marks of VANTAGE FILM GmbH, Germany,

24 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 cameras and release formats. The following table gives an overview of the main differences between anamorphic and spherical shooting. Format Used Image Area Advantages Disadvantages Camera Systems Anamorphic 2.40 Scope 340 mm 2 Elegant framing, represents high production value, high speed film stock applica ble, less depth of field, largest sensor/negative area, ultimate format for theatrical release, ideal format for HDTV release. Limited availability of required 1.3x anamorphic lenses. Arri Alexa 16:9 Arri Amira Sony F55/F65 Red Epic/Scarlet Canon C500 PL Canon 1D/ 7D PL 3-perf film Super spherical 245 mm 2 Standard lenses and cameras widely available. Lower image quality, flat look, high speed film stock not applicable, shorter lenses, smallest sensor/negative area of all 35mm formats. Arri Alexa * 16:9 Arri Amira * Sony F55 * /F65 * Red Epic/Scarlet * Canon C500 PL * Canon 1D/ 7D PL * 3-perf film * Anamorphic 1.78 Scope 466 mm 2 Highest image quality, less depth of field, huge sensor/ negative area, ultimate format for 16:9 HDTV productions and TV commercials. Limited availability of required anamorphic lenses. Arri Alexa 4:3 Red Epic/Scarlet * Canon C500 PL * Canon 1D/ 7D PL * 4-perf film Super spherical 340 mm 2 Standard lenses and cameras available widely. Lower image quality, flat look, shorter lenses. Arri Alexa 16:9 Arri Amira Sony F55/F65 Red Epic/Scarlet Canon C500 PL Canon 1D/ 7D PL 3-perf film No matter which of the above listed formats you are planning to shoot, Hawk V-Lite 1.3x Anamorphics use 33% more sensor/negative area compared to standard spherical lenses. Along with the new Hawk lenses, Vantage has developed view finders for all Arri cameras. All PSU video assist systems have been upgraded to desqueeze 1.3x images. * Image area cropped p21_1115 Made in Germany by Vantage Film GmbH

25 Hawk V-Lite16 High Speed Anamorphics for 16 mm In 2010, Vantage designed a set of five entirely new lenses for 16 mm production. The lenses were designed from scratch and deliver ultra-high performance. The lenses have a 1.3x squeeze desirable for Super 16 and are available in the following focal lengths: Hawk V-Lite16 14 mm/t1.5 Hawk V-Lite16 18 mm/t1.5 Hawk V-Lite16 24 mm/t1.5 Hawk V-Lite16 28 mm/t1.5 Hawk V-Lite16 35 mm/t1.5 Hawk V-Lite 45 mm/ Hawk V-Lite 55 mm/ Hawk V-Lite 65 mm/ Hawk V-Lite 80 mm/ Hawk V-Lite 110 mm/t3 Hawk V-Lite 140 mm/t3.5 Simplicity and functionality govern the design of this series of small, lightweight Hawk V-Lite16 Anamorphics. The challenge of producing a set of anamorphic 16 mm lenses was not an easy one. It had never been done before, and shooting spherical 16 mm always required a compromise between negative size and very short, flat lenses. Along with six of the regular Hawk V-Lite anamorphics, the 16 mm set covers the wide range from 14 to 140 mm. When filmmakers choose Hawk V-Lite16 Anamorphics, they no longer need to make this uncomfortable trade off. Proven lens designs did not lead to a compact S16 anamorphic lens with the full-blown quality that Vantage required, so our experiments led to new design concepts and manufacturing procedures that allowed us to produce lenses small in size and grand in performance. The efforts led to the simple and elegant solution of using cylindrical lenses with extremely small radiuses to minimize the aerial distance between the lenses and then pack them tightly into a small, short housing. After they were sure that such deeply curved lenses could be manufactured, the optical calculations were made. Hawk Chief Optical Scientist, Dr. Anatoly B. Agourok explains, To achieve a minimum lens size, I did some intricate fine tuning. Not only did I optimize the shape of the optical elements, I also managed to reduce their number. Plus, I used ultra-thin glass with a high refractive index and set even stricter manufacturing tolerances than I usually do. The result of these efforts is a range of strikingly compact, lightweight S16 anamorphic lenses. These lenses have been reduced to their very essence and are smaller than most spherical lenses on the market. Still, they offer the same stunning performance as all Hawk V-Plus Anamorphics. Finally, DoPs and camera operators have the opportunity to work with small S16 lenses which are just as good as their 35mm counterparts. T1.5 High Speed for Super 16 Anamorphic Fully open, the Hawk V-Lite x provides 100% more light than 35mm anamorphics. This supports the use of low-grain film stock with medium ASA settings. Additionally, large geometric apertures create a shallow depth of field a major characteristic of true anamorphic capturing. The lenses are available in two versions: Hawk V-Lite16 Squeeze for Normal 16 This format delivers classical anamorphic images with shallow depth of field. It can be combined with all existing Hawk Anamorphics. Hawk V-Lite16 Squeeze for Super 16 1:2.40 1:2.40 This format uses the full S16 negative area. The emotional impact lies between anamorphic and spherical capturing. Vantage has developed anamorphic viewfinders for Arriflex 416 cameras. The Vantage PSU video assist systems, have been upgraded to desqueeze these 1.3x images. p22_1115 Made in Germany by Vantage Film GmbH

26 V-Lite16 Hawk Anamorphic for 16 mm Film - Technical Data Lens Focal Length Stop CfD Angle of View Weight Front m ft horizontal vertical kg Ibs Diameter Overall Length Min. Filter Size Hawk V-Lite16 Anamorphics SQUEEZE V-Lite mm T T mm 140 mm 4x5.65 V-Lite mm T T mm 173 mm 4x5.65 V-Lite mm T T mm 158 mm 4x5.65 V-Lite mm T T mm 160 mm 4x5.65 V-Lite mm T T mm 159 mm 4x5.65 V-Lite mm T T mm 154 mm 4x5.65 V-Lite mm T T mm 156 mm 4x5.65 V-Lite mm T T mm 160 mm 4x5.65 V-Lite mm T T mm 185 mm 4x5.65 V-Lite mm T 3 - T mm 200 mm 4x5.65 V-Lite mm T T mm 220 mm 4x5.65 Hawk V-Lite16 Anamorphics SQUEEZE V-Lite mm T T mm 140 mm 4x5.65 V-Lite mm T T mm 173 mm 4x5.65 V-Lite mm T T mm 158 mm 4x5.65 V-Lite mm T T mm 160 mm 4x5.65 V-Lite mm T T mm 159 mm 4x5.65 V-Lite mm T T mm 154 mm 4x5.65 V-Lite mm T T mm 156 mm 4x5.65 V-Lite mm T T mm 160 mm 4x5.65 V-Lite mm T T mm 185 mm 4x5.65 V-Lite mm T 3 - T mm 200 mm 4x5.65 V-Lite mm T T mm 220 mm 4x5.65 Technical specifications are subject to change without notice Hawk Anamorphic - recommended Panning Speeds For static scenes 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 Panning Angle 30 Panning Speed in seconds 14 mm 18 mm mm 35 mm 45 mm mm 80 mm mm 14 mm 18 mm mm 35 mm 45 mm mm 80 mm mm p23_1115 For further information contact Vantage Film, Phone , Fax , Hawk, Hawk Anamorphic, are registered trade-marks of VANTAGE FILM GmbH, Germany,

27 anamorphic lenses 1.3x squeeze 11/2014 Lens Focal L./T-Stop Cfd hawk v-lite anamorphics 1.3x squeeze Hawk V-Lite 20 Hawk V-Lite 24 Hawk V-Lite 28 Hawk V-Lite 35 Hawk V-Lite 45 Hawk V-Lite 55 Hawk V-Lite 65 Hawk V-Lite 80 Hawk V-Lite 110 Hawk V-Lite mm / 24 mm / 28 mm / 35 mm / 45 mm / 55 mm / 65 mm / 80 mm / 110 mm / T3 140 mm / T3.5 hawk v-plus anamorphics 1.3x squeeze Hawk V-Plus 45 1 Super Close Focus Hawk V-Plus 2:1 Zoom Hawk V-Plus 2:1 Zoom Hawk V-Plus 2:1 Zoom Hawk V-Plus 3:1 Zoom 45 mm / T mm / mm / mm / mm / T cm 60 cm 80 cm 40 cm 60 cm 75 cm 2 m hawk v-lite16 anamorphics 1.3x squeeze Hawk V-Lite16 14 Hawk V-Lite16 18 Hawk V-Lite16 24 Hawk V-Lite16 28 Hawk V-Lite16 35 Hawk V-Lite 45 Hawk V-Lite 55 Hawk V-Lite 65 Hawk V-Lite 80 Hawk V-Lite 110 Hawk V-Lite 140 Lens 14 mm / T mm / T mm / T mm / T mm / T mm / 55 mm / 65 mm / 80 mm / 110 mm / T3 140 mm / T cm Focal L./T-Stop Various anamorphic Lenses 1.3x squeeze Angénieux/Hawk 12:1 Optimo Angénieux/Hawk 6:1 Zoom Angénieux/Hawk 10:1 Zoom Canon/Hawk 400 Canon/Hawk 500 Canon/Hawk 1000 Century/Hawk 1300 Nikon/Hawk 260 Nikon/Hawk 400 High Speed Nikon/Hawk 400 Nikon/Hawk 500 Nikon/Hawk 800 Swing-Shift System/Hawk mm/t mm/t mm/t mm/t mm/t mm/t mm/t mm/t mm/t mm/t mm/t mm/t mm/t mm/t mm/t2.6 T-REX Superscope/Hawk 14, 19, 24, 35, 55, 100 mm/t6.2 Hawk Rear Attachment multiplies the focal length by 1.3 times, minus 1 / 4 stop Hawk Rear Attachment Optimo multiplies the focal length by 1.3 times, minus 1 / 4 stop Product anamorphic View finders 1.3x squeeze Anamorphic View Finder for Arricam Studio Anamorphic View Finder for Arricam Lite Anamorphic View Finder for Arriflex 535B Anamorphic View Finder for Arriflex 435 Anamorphic View Finder for Arriflex 235 Anamorphic View Finder for Arriflex 416 Anamorphic Finder Module for Alexa Studio Anamorphic View Finder for Arriflex D21 Anamorphic Ground Glass + Glow + Format Mask for Arricam/Arriflex Accessories 1.3x squeeze Directors Finder Anamorphic Arri FF-3/4 Follow Focus modified for use with Hawk V-Series FF-4 Conversion Kit only (Follow Focus not supplied) Set of Hawk Mattes for MB-14 Anamorphic Format Converter (for Video Assist) Hawk V-Lite 1.3x 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 (e.g., Arri Alexa, Sony F65) and achieve the popular widescreen 1:2.40 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 maximum image quality combined with a very pleasant emotional effect. Furthermore, the new lenses allow shooting with 4:3 sensor/negative area and stretch it to 1:78 for 16:9 HDTV release. With an Arri Alexa Studio or 4-perf film, the full sensor/negative area can be used for 16:9 filming. The lenses can be used with following cameras/formats: Arri Alexa 16:9 Arri Amira Sony F55/F65 Red Epic/Scarlet Canon C500/1D/7D PL 3-perf film 16 mm film Arri Alexa 4:3 Canon C500/1D/7D PL Pillar Box 4-perf film 1:1.85 nearly the entire sensor/negative area 4:3 full sensor 1:1.33 full frame 1: :9 Broadcast release 1:1.78 1:1.85 Theatrical release other combinations possible p24_1115

28 Great films need great lenses Steven Spielberg, Martin Scorsese, and George Lucas choose their lenses very carefully as do many great filmmakers worldwide. Often, that search for brilliant image quality and uncompromising optical precsion leads them to the Hawk Anamorphics. We are proud to say that all the films pictured here were shot with Hawk lenses and represent only a few of the awardwinning films shot with our lenses. p25_1115

29 2015 Independence Day: Resurgence, USA, Markus Förderer, Nick Schuster/Steven Cueva/Haydn Pazanti, Red Dragon/V-Series/V-Plus/V-Lite 1.3x Eddie the Eagle, United Kingdom/Germany, George Richmond, Chris Bain, Alexa XR Studio/Alexa XT Plus/Alexa M/V-Series/V-Plus/V-Lite Fear the Walking Dead, Canada/USA, Michael McDonough, Zachary Seiffert/Joe Waistell, V-Lite Vintage 74 Beyond Skyline, USA/Canada/Indonesia, Christopher Probst, V-Lite Vintage 74 Tell the World, Canada, Peter Moss, Alexa Plus 4:3/C-Series An Ordinary Man, Serbia, Magdalena Górka, Alexa XT Plus/C-Series/V-Series Colossal, Canada, Eric Kress, V-Plus/V-Series The Coldest City, Hungary/Germany, Jonathan Sela, Julian Bucknall/Chris Summers, Alexa XT Plus/Alexa M/V-Lite Vintage 74 The Woman in the Silver Plate, France/Japan/Belgium, Alexis Kavyrchine, Alexa Plus 4:3/V-Lite/V-Plus Ikari, Japan, Norimichi Kasamatsu, V-Lite Todo Lo Demás, Mexico, Lorenzo Hagermann, V-Lite Das Weisse Kaninchen, Germany, Phillip Sichler, Oliver Schill, Alexa XR Studio/V-Lite 1.3x Gleissendes Glück, Germany, Daniela Knapp, Boye Külver, Alexa Plus 4:3/V-Lite/V-Plus/V-Series Der Ausflug, Poland, Tim Peter Kuhn, Simon Gercke, Alexa Studio/Alexa XT Plus/C-Series Decibels of Love, Czech Republic, Vladimír Smutný, Alexa Plus/Alexa Mini/V-Lite 1.3x Fünf Frauen, France, Clemens Baumeister, Felix Schwarz/Karl Evers/Alex Bloom, Alexa Studio/V-Plus The Zookeeper s Wife, Czech Republic, Andrij Parekh, Alexa XT Plus/Alexa M, V-Lite Mein Blind Date, Germany, Bernhard Jasper, Snezana Anastasijevic, Alexa Studio/Alexa M/Alexa Mini/V-Lite A United Kingdom, United Kingdom, Sam McCurdy, Alexa XT Plus/V-Lite Vintage 74 Die Vierte Gewalt, Germany, The Chau Ngo, Arite Szadkowski, Alexa Studio/Alexa Plus 4:3/V-Lite 1.3x Cézanne et moi, France, Jean-Marie Dreujou, V-Lite 1.3x Die Hochzeit Meiner Eltern, Germany, Birgit Gudjonsdottir, Thorsten Alt, Alexa XR Plus 4:3/V-Lite 1.3x The Divergent Series: Allegiant, USA, Florian Ballhaus, Peter Byrne, Alexa XT Plus/V-Plus A Dog s Purpose, Canada, Terry Stacey, V-Lite Silence, Taiwan, Rodrigo Prieto, Zoran Veselic, V-Lite/V-Plus/V-Series The Worthy, Romania, Adrian Silisteanu, V-Plus/V-Series Axolotl Blockbuster, Germany, Manuel Dacosse, Albrecht von Grünhagen, Alexa XR Studio/V-Plus/V-Series Ryuzo and the Seven Henchmen, Japan, Katsumi Yanagishima, V-Lite Maximilian, Austria, Thomas Kiennast, Marcos Pieta Jorge, Alexa Plus 4:3/V-Lite 1.3x Die Mitte der Welt, Germany/Austria, The Chau Ngo, Gregor Grieshaber, Alexa Plus/Alexa Mini/Epic Dragon/V-Lite 1.3x Gifted, USA, Stuart Dryburgh, EJ Misisco, V-Lite 1.3x Falling Water, USA, Shelley Johnson, V-Lite/Vintage 74 Animal Kingdom, USA, Daniel Moder, V-Lite Roots, USA/South Africa, Peter Menzies Jr., Steven Cueva, V-Lite 1.3x Fingersmith, South Korea, Chung-hoon Chung, V-Lite Vintage 74 Churchill s Secret, United Kingdom, Fabian Wagner, John Davis, V-Lite 1.3x Maximum Impact, Russia, Vern Nobles, V-Series/V-Plus/V-Lite Der geilste Tag, Germany/South Africa, Bernhard Jasper, Snezana Anastasijevic, Alexa Studio/Alexa M/C-Series/V-Series/V-Lite Mountains and Stones, Turkey/Czech Republic, Daniel Aranyó, Guillem Huertas, Alexa XR Plus 4:3/Alexa XT Plus/-Plus/V-Lite Infiltrator, United Kingdom/USA, Joshua Reis, Tim Battersby, V-Lite Two Lovers and a Bear, Canada, Nicolas Bolduc, Eric Bensoussan, V-Lite Army of One, Canada/Marocco, Anthony Hardwick, Ted Smith, Alexa Plus 4:3/V-Lite L ile Jaune, France, Paul Guilhaume, Arriflex 416/V-Lite16 1.3x The Christmas King: In Full Armor, Czech Republic, Gaute Gunnari, Alexa Plus 4:3/V-Lite/VantageOne Extraction, Canada, Brandon Cox, V-Plus Anthropoid, United Kingdom/Czech Republic/France, Sean Ellis, Kirsti Abernethy, V-Lite 1.3x Kantor, Poland, Piotr Sliskowski, V-Lite 1.3x Double, Romania, Patru Paunescu, V-Lite 1.3x Blackbird, USA, Thimios Bakatakis, V-Lite 1.3x Berlin Eins, Czech Republic, Armin Franzen, Gregor Grieshaber, Alexa Plus 4:3/V-Lite 1.3x Viking, Russia, Igor Grinyakin, V-Lite Girlfriend s Guide to Divorce, Canada, Scott Williams, Matthew A. Del Ruth, V-Lite 1.3x Vertraue mir, Germany, The Chau Ngo, Christian Graf, Red Dragon, V-Lite 1.3x Tatort: Die Kunst des Krieges, Austria, Robert Oberrainer, Camillo Foramitti, Alexa Studio/Alexa Plus 4:3/V-Lite 1.3x Heartbreaker, Canada, Scott Williams, Jesse Vance, V-Lite 1.3x Outside the Box, Germany, Markus Eckert, Nicolas Jackson, V-Lite 1.3x Ein Atem, Germany, The Chau Ngo, Christian Graf, Alexa XT Plus/V-Lite 1.3x The Great Wall, China/New Zealand, Stuart Dryburgh, Ester Tan Huifang, V-Series/V-Plus Woodshock, USA, Peter Flinckenberg, June Zandona, V-Series/V-Plus/V-Lite 1.3x Keanu, USA, Jas Shelton, V-Lite Vintage 74 The Patriarch, USA, Ginny Loane, Alexa Studio/Alexa XT Plus/V-Lite Vintage 74 Kojot, Hungary, Attila Csoboth, V-Series The D Train, United Kingdom/USA, Giles Nuttgens, Michael Charbonnet/David Leb, V-Lite Gangster Ka, Czech Republic/Canary Islands, Marek Janda, Alexa EV-1/V-Lite 1.3x 2014 Bridge of Spies, USA/Germany, Janusz Kaminski, Mark Spath, Arricam LT/ST/235/V-Plus/V-Lite/V-Lite Vintage 74 Alice: Through the Looking Glass, Great Britain, Stuart Dryburgh, Alexa XT Plus/V-Lite 1.3x 3 Tuerken und 1 Baby, Germany, Armin Franzen, Gregor Grieshaber, Alexa Studio/V-Lite 1.3x A Monster Calls, Spain/Great Britain, Oscar Faura, Guillem Huertas, Alexa XR Studio/Alexa XT Plus/V-Plus/V-Lite/V-Lite Vintage 74 All Things Grow, Zeng Jian, Alexa/V-Plus/V-Lite Altes Geld, Austria, Marcus Kanter, Maximilian Hoellmueller/Nino Volpe, Alexa Studio/V-Plus/V-Lite 1.3x Anacleto, Spain, Arnau Valls Colomer, Alexa/V-Series/V-Lite Krásno, Czech Republic, Tomás Sysel, Jirka Merz, Alexa/V-Series/V-Plus Mountain Cry, China, Patrick Murguia, Arturo Castanedo, C-Series Broken Vows, USA, Kees Van Oostrum, Alexa XT/V-Series/V-Plus Unlocked, USA/GB/Czech Republic, George Richmond, Jan Carda, Alexa XT/Red Epic/V-Lite/V-Plus Magic Mike XXL, USA, Stephen Soderbergh, Red Dragon/V-Series/V-Plus/V-Lite The Perfect Guy, USA, Peter Simonite, Markus Mentzer, Sony F55/F65/V-Lite Vintage 74 The Moon and The Sun, France/Australia, Conrad W. Hall, Andrew Jerram, Alexa XT Plus/V-Series/V-Plus/V-Lite Vintage 74 Arabian Nights, Germany/Portugal/France, ArriFlex 416/V-Lite16 1.3x Best of Me, USA, Oliver Stapleton, Troy Wagner, V-Series/V-Lite Change, Ukraine/Belgium/Germany/Japan, Philipp Baben der Erde, Tom Zylla, Alexa M 4:3/V-Lite Der Nanny, Germany, Bernhard Jasper, Snezana Anastasijevic, Alexa Studio/Alexa Plus 4:3/V-Plus/V-Lite/V-Lite Vintage 74 Hot Pursuit, USA, Oliver Stapleton, Michael Charbonnet, V-Plus/V-Lite Selma, United Kingdom/USA, Bradford Young, Steven Cueva, C-Series Zum Sterben zu früh, Germany, Ngo The Chau, Christian Graf, Alexa StudioV-Lite 1.3x Grey Lady, USA, Andrzej Bartkowiak, Vern Nobles, Red Epic/V-Lite 1.3x Chevalier, USA, Christos Karamanis, Christos Douros, Red Epic/C-Series/V-Series Heist aka Bus 657, USA, Bandon Cox, Wade Whitley, C-Series/V-Lite I am Michael, USA, Christopher Blauvelt, Jennie Jeddry, Alexa/V-Lite 1.3x Emperor, Belgium/Czech Republic, Sam McCurdy, Dan Balzar/Libor Bruha, Alexa XT Plus/V-Series/V-Plus/V-Lite Frau Müller Muss Weg, Germany, Tom Fährmann, Sven Fink, Alexa Plus 4:3 High Speed/V-Plus/V-Lite Mädchen im Eis, Arctic/Russia, Benedikt Neuenfels, Andreas Erben, Red Epic/V-Lite 1.3x Holidays in Provence, Czech Republic, Martin Strba, Jirka Merz, Alexa/V-Lite 1.3x Sea of Trees, USA, Kasper Tuxen, V-Series/V-Plus/V-Lite/V-Lite Vintage 74 Stonewall, USA, Markus Förderer, Nicolas Marion/Gary Pachany, V-Plus/V-Lite/V-Lite Vintage 74 Supilinna Salaselts, Estonia, Meelis Veeremets, Alexa XT Plus/V-Series/V-Lite Vintage 74 Taken 3, USA/France/Spain, Eric Kress, Fabrice Bismuth, ArriCam Lite 4-perf HD/V-Series/V-Plus/V-Lite The Moon and The Sun, France/Australia, Conrad W. Hall, Fabienne Octobre, Alexa XT Plus/V-Series/V-Plus/V-Lite Vintage74 The Runner, USA, Elliot Davis, Brad Baker, V-Plus/V-Lite Kingsman - The Secret Service, Great Britain, George Richmond, Chris Bain, V-Plus/V-Lite Time Out of Mind, USA, Bobby Bukowski, Sam Ellison, V-Series/V-Plus Race, Canada/Germany, Peter Levy/Peter Moss, Kerry Smart, Alexa XT Plus/V-Series/V-Plus/V-Lite Air, Canada, Norm Li, Red Epic/V-Lite Vintage 74 Unfriend, South Africa/Germany, Jo Heim, Robert Guenter/Rafael Jeneral, Alexa Plus High Speed/Alexa EV-1/V-Lite 1.3x Wilsonov, Czech Republic/Slovak Republic, Martin Strba, Zdenek Mrkvicka, Alexa Studio/Alexa Plus 4:3V-Lite 1.3x Woman in Gold, Great Britain, Ross Emery, Jem Rayner/Tim Battersby, V-Plus/V-Lite Adult Beginners, USA, Vanja Cernjul, Gareth Manwaring, V-Lite 1.3x Hollars, USA, Eric Alan Edwards, Keith Pakorski, Alexa XT Plus/V-Lite 1.3x Krasno, Czech Republic, Tomas Sysel, Jirka Merz, Alexa Studio/V-Series/V-Plus Nos Femmes, France, Thomas Hardmeier, Maud Lemaistre, Alexa XR Studio/Alexa XT Plus/Alexa M 4:3/Red Epic Mysterium X/Red Epic Dragon/V-Series/V-Plus/V-Lite Masterminds, USA, Erik Wilson, Troy Wagner, V-Lite 1.3x Lost in Munich, Czech Republic, Alexander Surkala, Tomas Munzperger, ArriFlex 416/V-Lite16 1.3x Chronicles of Melanie, Latvia/Finland, Gints Berzins, Aigars Sērmukšs, Alexa Studio/V-Series/V-Plus/V-Lite Insurgent, USA, Florian Ballhaus, V-Plus/V-Lite Nowhere in Moravia, Czech Republic, Jan Baset Stritezsky, Martin Votruba, Alexa/C-Series Pixels, Canada, Amir Mokri, C-Series/V-Series/V-Plus Planet Ottakring, Austria/Germany, Richi Wagner, Andreas Handl, Alexa Plus High Speed/Alexa EV-1/V-Lite 1.3x The Vancouver Asahi, Japan, Ryûto Kondô, V-Lite Hot Road, Japan, Kosuke Yamada, V-Lite Crows Explode, Japan, Ryo Otsuka, V-Lite 2013 Blackhat, USA/China/Indonesia/Malaysia, Stuart Dryburgh, Jimmy Jensen, Alexa XT/V-Lite 1.3x November Man, Serbia, Romain Lacourbas, Denis Garnier, Alexa Studio/V-Lite Vintage 74/V-Plus/C-Series The Last Five Years, USA, Steve Meizler, Paul Toomey, Red Epic/V-Lite The Town That Dreaded Sundown, USA, Michael Goi, Zachary Sieffert, Sony F55/V-Lite 1.3x Low Down, USA, Christopher Blauvelt, Stephen MacDougall, Arriflex 416/V-Lite16 1.3x Aloft, Canada, Nicolas Bolduc, Eric Bensoussan, Alexa Studio/V-Lite Vintage 74/V-Plus Kristy, USA, Crille Forsberg, Alexa Studio/Alexa Plus 4:3/V-Plus/V-Lite Wolf Creek 2, Australia, Toby Oliver, Scott Dolan, Alexa Plus 4:3/V-Plus/V-Lite The Cut, Germany/Jordan, Rainer Klausmann, Astrid Miegel, Arricam LT/V-Plus/V-Lite Charlies Country, Australia, Ian Jones, Geoff Skillbeck, Alexa Studio/V-Series/V-Plus/V-Lite Vaterfreuden, Germany, Bernhard Jasper, Shezana Anastasijevic, Alexa Studio/V-Plus/V-Lite Child 44, Czech Republic, Philippe Rousselot/Oliver Wood, Radek Škudrna, Arricam ST/LT/V-Series/V-Plus/V-Lite De Guerre Lasse, France, Thomas Hardmeier, Maud Lemaîstre, Alexa Studio/Alexa Plus 4:3/C-Series/V-Series/V-Lite Force Majeure, Sweden, Fredrik Wenzel, Carl-Mikael Ström, Alexa Plus 4:3/C-Series The Other Woman, USA, Robert Fraisse, Stanley Fernandez Jr., V-Plus/V-Lite Yves Saint Laurent, France, Thomas Hardmeier, Maud Lemaîstre, Alexa Studio/Alexa Plus/V-Lite Vintage 74/V-Plus 71, Great Britain, Tat Radcliffe, Arriflex 416/V-Lite16 1.3x Bande de Filles, France, Crystel Fournier, Aurélien Dubois, Alexa Plus 4:3/V-Plus/V-Lite Krasno, Czech Republic, Tomáš Sysel, Jiří Merc, Alexa Studio/V-Plus The Monuments Men, Germany, Phedon Papamichael, Luc Pallet, Arricam LT/Alexa 4:3/V-Plus/V-Lite Top Boy Season 2, Great Britain, Christopher Ross, Theo Berman, Alexa/V-Lite 1.3x Life Of Crime, USA, Eric Alan Edwards, Michael Burke, Alexa/V-Lite 1.3x Mamba, Morocco/Austria, Marcus Kanter, Christian Stiendl/Nino Volpe, Alexa/V-Lite 1.3x Automata, Bulgaria, Alejandro Martinez, Plamen Jelyazkov, V-Lite 1.3x Brick Mansions, Canada, Christophe Collette, Red Epic/V-Lite 1.3x Tatort: Die Chinesische Prinzessin, Germany, Jana Marsik, Alexa/V-Lite 1.3x The Numbers Station, USA, Ottar Gudnason, Peter Byrne, Alexa/V-Lite Horns, USA/Canada/British Colombia, Frederick Elmes, Larry Portman, Alexa Plus 4:3/Alexa Studio/V-Lite Construction, USA, Travis Hoffmann, Tinx Chan, Red One/V-Series Library Wars, Japan, Taro Kawazu, V-Lite Les Gazelles, France, Patrick Blossier, Maéva Drecq, V-Series/V-Plus/V-Lite The Gentle Waves, Czech Republic, Vladimir Smutny, Václav Zajíček, Alexa Plus 4:3/Alexa Studio/V-Plus The Giver, South Africa, Ross Emery, V-Series/V-Plus/V-Lite The Hundred-Foot Journey, France, Linus Sandgren, Boris Abaza, Arricam ST/LT/V-Lite Vintage 74/V-Plus Sunstroke, Russia, Vladislav Opelyants, Alexa Studio/V-Plus/V-Lite Summer Solstice, Poland, Jerzy Zielinski, C-Series WhoAmI, Germany, Nik Summerer, Christian Kitscha, Alexa XT/C-Series 10 rules, Czech Republic, Alexander Šurkala, Tomáš Munzberger, Alexa Plus/C-Series/V-Series/V-Plus Lady in the Portrait, China, Dong Jing Song, Zhang Qjang, Alexa XT/V-Plus Männerhort, Germany, Bernhard Jasper, Moritz Müller, Alexa Studio/V-Series/V-Plus The Hole, Czech Republic, Jan Baset Střítežský, Martin Votruba, Alexa Studio/V-Series/V-Plus Focus, USA/Argentina, Xavier Pérez Grobet, Glenn Kaplan, Alexa Plus 4:3/V-Lite 1.3x 3 Brothers, Czech Republic, Vladimir Smutny, Václav Zajíček, Alexa Studio/Red Epic/V-Series/V-Plus Hands of Stone, USA/Panama, Miguel Ioann Littin Menz, Pablo Martinez Lara, V-Plus/V-Lite Hin und Weg, Germany, Ngo The Chau, Christian Graf, Red Epic/V-Lite 1.3x The Business Trip, Germany/USA, Oliver Stapleton, Eric Swanek, Moviecam/V-Lite 1.3x Stereo, Germany, Ngo The Chau, Gregor Grieshaber, Red Epic/V-Lite 1.3x 4 Angels, Czech Republic, Matěj Cibulka, Jan Jirák, Alexa Studio/V-Lite 1.3x Manta Korridor, France, Gerard Simon, Nourédyne Amroun, Alexa EVF-1/V-Lite 1.3x Pohádkář, Czech Republic, Martin Štrba, Zdeněk Mrkvička, Alexa/V-Lite 1.3x Exit, Nederland, Martijn van Broekhuizen, Gasper Snuderel, Alexa/V-Lite 1.3x Stung, Germany, Stefan Burchard, Johannes Päch, Alexa/V-Lite 1.3x I Remember, USA, Markus Förderer, V-Plus The Legend of Longwood, Ireland, Richard van Oosterhout, Andrew Oreilly, Alexa Studio/V-Series/V-Plus Elephant Song, Canada, Pierre Gill, V-Series/V-Plus Shanghai Noir, China, Sion Michell, Matthew Wakabi, Alexa XT/V-Lite Hot Road, Japan, Kosuke Yamada, Naokoi Sakakibara, Alexa Studio/V-Lite Shanghai Noir, China, Sion Michell, Matthew Wakabi, Alexa XT/V-Lite Unfriend, Jo Heim, Robert Günther/Rafael Jeneral, Alexa/V-Lite 1.3x Lady Grey, South Africa, Nigel Bluck, Chris Summers, V-Lite Vintage 74 John Wick, USA, Jonathan Sela, V-Lite Vintage 74/V-Plus 2012 The Wolf Of Wall Street, USA, Rodrigo Prieto, Zoran Veselic/Bobby Mancuso, Arricam LT/V-Series/V-Plus/V-Lite Red 2, Canada/France/Great Britain, Enrique Chediak, Nicolas Marion, Arricam LT/V-Lite 1.3x The Emperor, New Zealand/Japan, Stuart Dryburgh, Nick Hutchinson, Arricam ST/LT/Arriflex 435/V-Lite 1.3x Man of Tai Chi, China, Elliot Davis, Matthew Wakai, Alexa Studio/V-Lite/V-Plus/V-Series The Hypnotist, Sweden, Mattias Montero, Daniel Wannberg/Cezar Villalba, Alexa Studio/C-Series/V-Series Qissa The Ghost is a Lonely Traveller, India, Sebastian Edschmid, Philipp Dönch, Alexa/V-Lite 1.3x The Man Who Laughs, Czech Republic, Gérard Simon, Dan Balzer, Alexa/V-Lite 1.3x The Scapegoat, France, Patrick Duroux, Christian Abomnes, V-Lite 1.3x 100 Bloody Acres, Australia, John Brawley, Frank Hruby, Alexa/V-Lite 1.3x Promised Land, USA, Linus Sandgren, Jorge Sanchez, Arricam ST/LT/V-Lite 1.3x In Secret, Serbia, Florian Hoffmeister, Chris Summers, Alexa/V-Lite 1.3x The Secret Life of Walter Mitty, USA, Stuart Dryburgh, Bobby Mancuso/Andy Harris, Arricam ST/LT/V-Series/V-Plus/V-Lite Der Schlussmacher, Germany, Bernhard Jasper, Shezana Anastasijevic, Alexa Studio/V-Lite/V-Plus/V-Series Final Recipe, Thailand, Jas Shelton, Red Epic/C-Series Ivan Podlubny, Russia, Vladislav Opelyants, Alexa/V-Lite 1.3x &Me, Belgium/Netherlands/Spain, Richard van Oosterhout, Olivier Servais, Arricam LT/V-Series/V-Plus Bez Doteku, Czech Republic, Alexander Šurkala, Thomáš Munsperger, Alexa/V-Lite 1.3x Marty, Bulgaria, Kaloyan Bozhilov, Arriflex 416/V-Lite16 1.3x Spieltrieb, Germany, Andreas Berger, Michael Hauptfleisch, Alexa Studio/V-Lite The Adventurer - The Curse of The Midas Box, Great Britain, Unax Mendía, José Ramón Delgado, Alexa Studio/V-Series Safe Haven, USA, Terry Stacey, Alexa Studio/V-Lite/V-Series Star Wars Episode 1 3D, USA/Great Britain, David Tattersall, Graham Hall, Arriflex 535B/435/C-Series In Treatment HBO TV-Series, Czech Republic, Alexander Šurkala, Thomáš Munsperger, Alexa Studio/V-Lite 1.3x An Enemy, Canada, Nicolas Bolduc, Eric Bensoussan, Alexa/V-Lite 1.3x Colt.45, France, Benoît Debie, Fabrice Bismuth, Arricam LT/ V-Lite/V-Plus/V-Series Die andere Heimat, Germany, Gernot Roll, Vladimir Duben, Alexa Studio/V-Lite Beyond Outrage, Japan, Katsumi Yanagishima, Shinji Suzuki, Arricam LT/V-Lite About Time, Great Britain, John Guleserian, Peter Byrne, Alexa/V-Lite 1.3x Love Punch, France, Jérôme Alméras, Simon Blanchard, Alexa/V-Lite 1.3x Misere, France/Morocco, Denis Rouden, Marie-Laure Prost, Alexa Studio/V-Plus/V-Lite Bank Lady, Germany, Ngo The Chau, Christian Graf, Alexa Studio/V-Lite 1.3x Les Profs, France, Regis Blondeau, Christian Abomnes, Alexa/V-Lite 1.3x Ach Ti Do Sajni, Czech Republic, Jaromir Safr, Alexa Studio/V-Lite 1.3x Sunstroke, Russia, Alexa Studio/V-Plus/V-Lite Vinodentro, Italy, Dante Spinotti, Luciano Teolis, Alexa Plus 4:3/C-Series/V-Plus/V-Lite Wenn Inge Tanzt, Germany, Armin Golisano, Florian Dittel, Alexa/V-Lite 1.3x Gold, Germany/Canada, Patrick Orth, Alexa/V-Lite 1.3x Zulu, South Africa, Denis Rouden, Alexa Studio/V-Plus/V-Lite Finsterworld, Germany, Markus Förderer, Oliver Schill, Alexa Studio/C-Series Recycling Lily, Switzerland, Darran Bragg, Tom Brown, Alexa/V-Lite 1.3x Theeb, Jordan, Wolfgang Thaler, Sebastian Thaler, Arriflex 416/V-Lite16 1.3x One Chance, Great Britain, Florian Ballhaus, V-Lite 1.3x Delivery Man, USA, Eric Alan Edwards, Alexa/V-Lite 1.3x Galore, Australia, Stefan Duscio, Alexa Plus 4:3/V-Lite Calea Pasarilor, Romania, Marius Panduru, Nica Costel, Arricam ST/LT/C-Series/V-Series Und Morgen wir Leben wieder, Germany, Christian Stangassinger, Tobias Kownatzki, Alexa Studio/V-Series/C-Series Supernova, Germany, Gregor Meerman, V-Series/V-Plus Patrick, Australia, Garry Richards, Alexa Plus 4:3/V-Series/V-Plus Le grand méchant loup, France, Laurent Daillant, Red Epic/V-Plus/V-Lite The Two Faces of January, Turkey/Great Britain, Marcel Zyskind, Henry Landgrebe, Alexa Plus 4:3/C-Series Unforgiven, Japan, Norimichi Kasamatsu, Arricam LT/Arriflex 435/V-Lite 2011 Argo, USA/Turkey, Rodrigo Prieto, Zoran Veselic, Arricam LT/ST/V-Lite/V-Plus Tower Heist, USA, Dante Spinotti, Chris Silano, Alexa/V-Lite 1.3x Parker, USA, James Michael Muro, Chad Rivetti, Red Epic/V-Lite/V-Plus Magic Mike, USA, Steven Soderbergh aka Peter Andrews, Steve Meizler, Red Epic/V-Lite/V-Plus/V-Series Trance, Great Britain, Anthony Dod Mantle, John Watters, Alexa/V-Lite 1.3x A Late Quartet, USA, Frederick Elmes, Chris Reynolds, Alexa/V-Lite 1.3x Page Eight, Great Britain, Martin Ruhe, Tim Battersby, Alexa/V-Lite 1.3x The Guilt Trip, USA, Oliver Stapleton, Larry Neilson, Moviecam/V-Series/V-Plus Erased, Belgium, Richard van Oosterhout, Benjamin Hautenauve, Arricam LT/V-Series/C-Series Construction, USA, Travis Hoffman, Tinx Chan, Red One/V-Series La vie d une autre, France, Thierry Arbogast, Didier Schokkaert, Alexa/V-Lite 1.3x Top Boy, Great Britain, Tat Radcliffe, Tim Potter, Alexa/V-Lite 1.3x [REC] 3 Genesis, Spain, Pablo Rosso, Oriol Busquets Brullet, Alexa/V-Lite 1.3x Jesus Loves Me, Germany, Stefan Unterberger, Dirk Schlohbom, Alexa/V-Lite 1.3x Was weg is is weg, Germany, Stefan Biebl, Armin Golisano, Arriflex 416/V-Lite16 1.3x Blondie, Sweden, Linda Wassberg, Alexa/V-Lite 1.3x Schilf, Germany, Manuel Mack, Conrad Lobst, Arriflex 416/V-Lite16 1.3x Yuma, Poland, Jacek Podgórski, Witold Nitkiewicz, V-Lite Breathe In, USA, John Guleserian, Erin Henning, Alexa/V-Lite 1.3x Beyond, USA, Eric Maddison, Alan Aldridge, Red One/V-Series Synchronicity, USA, Eric Maddison, Justin DeGuire, Alexa/V-Series Painless/Insensibles, Spain, Alejandro Martínez, Pau Reig, Alexa/V-Lite 1.3x In The Forrest, Sweden, Mattias Montero, César Villalba, Arricam LT/V-Lite/V-Series/V-Plus Vehicle 19, South Africa, Miles Goodall, Mark Cooksy, Arricam LT/ST/V-Lite/V-Plus Klang der Stille/Draußen ist Sommer, Germany, Sten Mende, Orit Teply, Alexa/V-Lite 1.3x Deep in a dream of you, Belgium/Great Britain/Hungary, David Williamson, Alexa/C-Serie Madame Solario, France, Benjamin Echazarreta, Arriflex 416/V-Lite 1.3x Closer To The Moon, Romania, Marius Panduru, Arricam LT/V-Series Wer s glaubt wird selig, Germany, Stefan Biebl, Matthias Ganghofer, Alexa/V-Lite 1.3x Snabba Cash 2, Sweden, Aril Wretblad, Daniel Kask, Alexa/V-Series/C-Series Convicted to life, Romania, Richard van Oosterhout, Arricam LT/V-Series Perfect Days, Czech Republic, Matej Cibulka, Martin Carda, Red One/V-Lite/V-Series Líbáš jako ďábel, Czech Republic, Vladimír Smutný, Vaclav Zajíček, Alexa/V-Lite 1.3x Signál, Czech Republic, Tomás Sysel, Jirí Merc, Alexa/V-Lite 1.3x Shanghai Gypsy, Slovenia, Simon Tanšek, Arri 535/V-Series Java Heat, Indonesia, Shane Daly, Maliki, V-Series/ V-Lite Fire with Fire, USA, Christopher Probst, Autumn Boh, Red Epic/V-Lite Håligheter, Sweden/Norway, Fredrick Wenzel, Alexa/V-Lite 1.3x Il était une fois, une fois, France, Régis Blondeau, Christian Abomnes The Patience Stone, Morocco, Thierry Arbogast, Alexa/V-Lite 1.3x Where I Belong, Austria, Duli Diemannsberger, Max Biro, Arriflex 416/V-Lite 1.3x The English Teacher, USA, Vanja Cernjul, Julien Zeitouni, Arricam LT/V-Lite 1.3x Un p tit gars de Menilmontant, France, Cyrill Renaud, Charlotte Vitroly, Alexa/V-Lite 1.3x Good Vibrations, Ireland, Ivan McCullough, Ray Carlin, Red One MX/V-Lite 1.3x Das Leben ist nichts für Feiglinge, Germany, Ngo The Chau, Moritz Kaethner, Alexa/V-Lite 1.3x Sunlight Jr., USA, Igor Martinovic, Joseph Boylan, Alexa/V-Lite 1.3x LUV, USA, IGavin Kelly, Red One/V-Series 2010 Lockout, Serbia, James Mather, Red One/V-Plus/V-Lite Salmon Fishing in the Yemen, Great Britain/Morocco, Terry Stacey, Arricam LT/ST/V-Plus/V-Lite Trespass, USA, Andrzej Bartkowiak, Jeff Civa, Arricam LT/ST/Arriflex 435/V-Lite 1.3x/V-Plus Haywire, USA/Ireland, Steven Soderbergh aka Peter Andrews, Steve Meizler, Red One/V-Lite/V-Plus/V-Series Machine Gun Preacher, USA/South Africa, Roberto Schaefer, James W. Apted, Arriflex 416/V-Lite16 1.3x 5m cuadrados, Spain, David Montero, Juan de Andres, Moviecam MK2/Compact/V-Series Half of Oscar, Spain, Rafael de la Uz, Juan Gonzales, Moviecam MK2/C-Series L empire, France, Yves Cape, Pauline Teran, Arriflex 535B/V-Series A Gang Story, France, Denis Rouden, Marie Laure Prost, Arricam LT/V-Lite/V-Plus/V-Series Angle Mort, Canada/Cuba, Jérôme Sabourin, Damielle Turgeon, Arriflex D-21/C-Series/V-Series La Cuarta Compañia, Mexico, Miguel Lopez Morales, Horacio Veqa, Red One MX/C-Series/V-Series Earthbound, Ireland, P. J. Dillon, Cornac O Omáille, Red One MX/V-Lite/V-Series Czech Made Man, Czech Republic, Antonio Riestra, Filip Šturmankin, Arri Alexa/V-Lite1.3x Americano, France, Georges Lechaptois, Julien Bureau, Arriflex 416/V-Lite16 1.3x The Hustlers, Finland, Henri Blomberg, Mika Vuorinen, Arriflex 416/V-Lite16 1.3x What a Man, Germany, Bernhard Jasper, Shezana Anastasijevic, Alexa/V-Lite 1.3x Yellow, USA, Jeff Cutter, Jeff Porter, Alexa/V-Lite Loverboy, Romania, Marius Panduru, Nica Costel, Arricam LT/C-Series Starbuck, Canada, Pierre Gill, Boris Roy, Arricam LT 3-perf./V-Lite 1.3x Detention, USA, Christopher Probst, Tony Martin/Jason Zakrewski, Red One/V-Series Violet & Daisy, USA, Vanja Cernjul, Joshua Blakeslee, Arricam LT/V-Series Miss Bala, Mexico, Mátyás Erdély, Joaquin Cervera, Arricam/V-Series Catch.44, USA, Jeff Cutter, Daniel Hanych, Red One/V-Lite/V-Plus Summer Window, Germany, Peter Przybylski, Andrea Theis, Arricam LT 3-perf/V-Lite 1.3x Vorstadtkrokodile 3, Germany, Bernhard Jasper, Shezana Anastasijevic, Arriflex D-21/V-Lite 1.3x Penny s Shadow, Holland, Richard van Oosterhout, David van Berg, Arricam LT 3-perf/V-Lite 1.3x The last Furlong, Ireland, Tim Fleming, Eoin Keating, Arriflex 416/V-Lite16 1.3x Five Minarets in N.Y., Turkey/USA, James Gucciardo, Serkan Guler/Franziska Schirmer Lewis, Arricam LT/Arriflex 435/235/V-Series Leaving, Czech Republic, Jan Malíř, Zdeněk Mrkvička, Arricam ST/V-Series/V-Lite Chicken with Plums, France/Germany, Christophe Beaucarne, Luc Pallet, Arricam ST/LT/V-Series In Treatment, Czech Republic, Alexander Šurkala, Thomáš Munsperger, Arriflex D-21/V-Lite 1.3x Cloud Cluster, Germany, Stephan Vorbrugg, Tord Erhard, Arriflex 416/V-Lite16 1.3x Get The Gringo, USA/Mexiko, Benoît Debie, Joaquin Cervera, Red One/V-Lite/V-Plus/V-Series Upside Down, Canada, Pierre Gill, Patrick Beaulac, Arricam ST/LT/V-Lite/V-Plus Chanda s Secrets,, Germany/South Africa, Bernhard Jasper, Arriflex D-21/V-Series/C-Series Das System, Germany, Daniela Knapp, Stefan Sosa, Arriflex 416/V-Lite16 8 Uhr 28, Germany, Ngo The Chau, Christian Graf, Arriflex D-21/V-Lite 1.3x Muži v pokušení, Czech Republic, Tomás Sysel, Jirí Merc, Red One/V-Series Mother of Asphalt, Croatia, Vanja Cernjul, Dragan Juric, Arriflex 416/V-Lite16 1.3x Ma part du gateau, France, Christophe Beaucarne, Luc Pallet, V-Plus/V-Lite/V-Series Marécages, Canada, Serge Desrosiers, Arricam LT/V-Series Porfirio, Columbia/Spain/France, Thimios Bakatakis, Thomas Varvias, C-Series 2009 Killers, USA, Russel Carpenter, Erik L. Brown, Arriflex D-21/V-Plus/V-Lite/V-Series Voice Over, Bulgaria, Rali Raltschev, Martin Balkanski, Arricam LT/V-Lite/V-Series Therapy, Denmark, Philippe Kress, Daniel Parmo, Arriflex 416/V-Lite16 1.3x The Last Deadly Mission, France, Denis Rouden, V-Plus/V-Lite/V-Series Outside the Law, France, Christophe Beaucarne, Luc Pallet, V-Plus/V-Lite/V-Series Our Grand Despair, Turkey, Birgit Gudjonsdottir, Titus Kreyenberg, Moviecam Compact/C-Series Almanya, Germany/Turkey, Ngo The Chau, Christian Graf, Arricam ST/LT 3-perf/V-Lite 1.3x Black Death, Germany, Sebastian Edschmid, Phillip Dönch, Arriflex 235/416/V-Lite 1.3x/V-Plus Revers, Poland, Marcin Koszałka, Krzysztof Strąbski, Arricam ST/Arriflex 535/V-Series/V-Lite The Death and Life of Charlie St. Cloud, Canada, Enrique Chediak, Larry Portmann, Arricam ST/LT/V-Plus/V-Lite Archeo, Slovenia, Jure Cernec, Debora Vrizzi/Adriano Gangi, Arricam LT/V-Series/C-Series Wolfsfährte, Germany, Martin Kukula, Florian Seemann, Arriflex 416/V-Lite 1.3x Did you hear about the Morgans? USA, Florian Ballhaus, Heather Norton, Arricam/V-Plus/V-Lite Una hora más en Canarias, Spain, Carlos Ferro, V-Series Naufragio, Spain, Arnau Valls Colomer, C-Series The Message, China, Jake Pollock, Arriflex/Moviecam In the Beginning, France, Glynn Speeckaert, Pierre Chevrin, V-Lite Le hérisson, France, Patrick Blossier, Eric Blanckaert, Arricam LT/V-Plus Bad Day to Go Fishing, Spain, Álvaro Gutiérrez, Pablo Berti Fashion Victim, France, Gérard Simon, Nouredyne Amroun La famille Wolberg, France, Céline Bozon, Pierre Assenat, V-Series Dust, Austria/Luxembourg, Fredrik Bäckar, Wolfgang Wesemann, Arricam ST/Arriflex 435 Nous Trois, France/Luxembourg, Yves Cape, Carlo Thiel, Arriflex D-21/V-Plus Frankenstein, Hungary, Mátyás Erdély, Gergely Cespregi, Arricam LT/V-Plus Circus Fantasticus, Slovenia/Ireland, Divis Marek, Arricam LT/V-Series Detektiv, Czech Republic, Karel Faraizel, Dan Balzer, Arriflex 416/ V-Lite16 1.3x Lumekuninganna Snow Queen, Estonia, Marius Matzow Guldbrandsen, Andrus Prikk, Arricam LT Forget Me Not, Great Britain, Shane Daly, Iwan Prys-Reynolds/Derrick Peters, Red One/V-Lite Blitz, Great Britain, Rob Hardy, Jennie Paddon, Arricam ST/LT/V-Plus/V-Lite 2008 Schwerkraft Germany, Ngo The Chau, Gregor Grieshaber, Arriflex 416 Amelia USA/Canada, Stuart Dryburgh, Christopher Raucamp, Arricam LT/V-Series 66/67, Germany, Ngo The Chau, Christian Graf, Arriflex 416 The Proposal, USA/England, Oliver Stapleton, Chris Silano, Arricam LT/Moviecam Compact/V-Series Mother, Korea, Alex Hong, Jo Ho Ahk, Arricam ST/LT/V-Plus Lost Persons Area, Belgium/Netherlands, Nicolas Karakatsanis, Thomas Casselli, Arricam LT Mal dia para pescar, Spain/Uruguay, Álvaro Gutiérrez, Carlos Catalan, Moviecam Compact The Girl from Monaco, France, Patrick Blossier, Eric Blanckaert Venkovsky Ucitel, Czech Republic, Divis Marek, Arricam Anything for Her, France, Alain Duplantier, Antoine Sanier, Arricam Boris Boris, France, Valentin Caron, Arricam L élégance du Hérisson, France, Patrick Blossier, Arricam 2007 Repro Man, USA/Canada, Enrique Chediak, Brad Crosbie, Arricam ST/LT/V-Series Tobruk, Czech Republic, Vladimír Smutný, Vaclav Zajíček, Arricam ST/Arriflex 235 Karamazovi, Czech Republic, Alexander Šurkala, Thomáš Munsperger, Arricam ST/LT A Mighty Heart, USA, Marcel Zyskind, Simon Tindall, Arriflex 435 Na vlastni nebezpeci, Czech Republic, Petr Hojda, Karel Kaliban, Arriflex 435/35-3 Ozivot, Czech Republic, Tomás Sysel, Ivan Simunek, Arricam LT Oko, Czech Republic, Vladimír Smutný, Vaclav Zajíček, Arricam ST Posledni plavky, Slovakia, Martin Matiasek, Stefan Bucko, Moviecam/Arriflex 435 The Ping Pong King, Sweden, Askild vik Adwardson, T.Moritz/S.Keim, Arricam LT Sunshine, Great Britain, Alwin H. Kuchler, Olly Tellett, Arricam/Arriflex 235/C-Series/V-Series Sunny et l elephant, France/Thailand, Patrick Blossier, Eric Blanckaert, Arricam LT MR73, France, Denis Rouden, Marie-Laure Prost, Arricam ST/LT 2006 Alpha Dog, USA, Robert Fraisse, Jeoffrey N. Civa, Moviecam/V-Series American Crime, USA, Byron Shah, Paul Janossy, Arricam The rest is silence, Romania, Marius Panduru, Martin Gheorghe, Moviecam Compact Blood Diamond, South Africa, Eduardo Serra, Birgit Dierken, Arricam LT/Arriflex 235/V-Series Mon Colonel, France, Patrick Blossier, Eric Blanckaert, Moviecam Compact Vent Mauvais, France, Yves Cape, Maxime Cointe, Moviecam Compact/Aaton 35 Danse avec lui, France, Denis Rouden, David Frak-Lauer, Arricam LT/Arriflex 535B La Dama Boba, Spain, Juan Molina, Satur Beltran, Moviecam Compact Case 39, Canada, Hagen Bogdanski, Patrick Stepien, Arriflex 535B/Moviecam SL Golmaal: Fun Unlimited, India, Aseem Bajaj, Arriflex 435 Neustadt, Germany, Busso von Müller, Marcos Pieta, Arricam LT Les Indigènes, France, Patrick Blossier, Eric Blanckaert, Arricam LT When Did You Last See Your Father, Great Britain, Howard Atherton, Alex Howe, Arricam LT/Moviecam Compact/V-Series 2005 Combien tu m aimes?, France, François Catonné, Nicolas Massard, Arriflex 535B The Lives of Others, Germany, Hagen Bogdanski, Nicolay Gutscher, Arriflex 535B/C Series/V-Series Flanders France, Yves Cape, Antoine Gueugneau, Aaton 35 Toute la beauté du monde France, Antoine Roch, Antoine Gueugneau, Moviecam Compact Il ne faut jurer... de rien, France, Eduardo Serra, Florent Bazin, Arricam ST On va s aimer, France, David Quesemand, Christophe Guyon, Moviecam Compact Jean Philipe Idole des Jeunes, France, Denis Rouden, Marie Laure Prost, Arricam LT/Arriflex 535B/435 Black, India, Ravi K. Chandran, R. Sudhakaran, Arriflex 535B Serco, Czech Republic, Igor Luther, Karel Fairaisl, Moviecam Open Water 2, Germany, Bernhard Jasper, Daniel Blaum, Arriflex 16SR3 Lapislazuli Austria, Fabian Eder, Richard Wagner, Moviecam Compact Grand Hotel Czech Republic, Richard Rericha, Libor Bruha, Arricam ST Three, Poland, Sebastian Milaszewski, Zbigniew Gustowski, Arricam ST Schröders wunderbare Welt, Germany, Tanja Trentmann, Markus Otto, Arricam LT ATL, USA, Karsten Gopinath, Stanley Fernandez Jr., Arricam LT/ST/Arriflex 435/V-Series 2004 Die blaue Grenze Deutschland, Manuel Mack, J.Kemmer/A.Theis, Moviecam Compact Shark in the Head, Czech Republic, Martin Stepánek, Karel Kaliban, Arricam ST Bye bye blackbird, Luxembourg, Christophe Beaucarne, Luc Pallet, Moviecam Compact Od Groba do Groba, Slovenia, Simon Tansek, Ales Belak, Arriflex 535 Happiness Czech Republic, Dívis Marek, Arricam ST Antikörper, Germany, Hagen Bogdanski, Nicolay Gutscher, Arricam LT One day in Europe, Germany, Florian Hoffmeister, Jörg Gruber, Moviecam Compact Familien Gregersen, Denmark, Dirk Brüel, Mouns Overgaard, Arriflex 535B Cursed, USA, Robert McLachlan, Michael Endler, Arricam ST Hormigas en la boca, Spain/Cuba, Javier Aguirresarobe, Moviecam Compact Don t Come Knocking, USA, Franz Lustig, Jay Levy, Arricam ST/LT Solkongen, France/Denmark, Jacob Kusk, Phil Forbes, Arriflex 535B Boudu, France, Gérard Simon, Gilles Guillard, Arriflex 535 Anthony Zimmer, France, Denis Rouden, Marie Sorribas, Moviecam Compact Valley of Flowers, Germany/India/Japan, Michael Englert, Henryk Jedynak, Arriflex Grad kälter Germany, Busso von Müller, Markus Otto, Arriflex 535B 2003 Sigade revolutsioon, Estonia, Arko Okk, Roland Adamson, Arricam LT Sotto falso nome, Czech Republic, Maurizio Calvesi, Gianluca Mazzela, Moviecam Compact Rusevine, Slovenia, Simon Tansek, Ales Belak, Arriflex 535 Non Plus Ultras, Czech Republic, Jakub Dvorský, Zbynek Kunc, Arricam ST/LT Qui perd gagne!, France, Gérard Simon, Gilles Guillard, Arriflex 535/Aaton 35 Les Choristes, France, Carlo Varini/Dominique Gentil, Piotr Stanicki, Moviecam Compact Lakshya, India, Christopher Popp, Anand Kumar, Arriflex 535B 2002 Kako los son, Croatia, Jaroslaw Szoda, T.Obuchowicz/B.Ferro, Arriflex 535B/35-3 Der alte Affe Angst, Germany, Hagen Bogdanski, Nikolai Gutscher, Moviecam Compact Fanfan la Tulipe, France, Gérard Simon, Vincent Gallot, Arriflex 535B Bala Perdida, Spain, Miguel Llorens, Jose Luis Criado, Moviecam Compact Svjedoci, Croatia, Zivko Zalar, Branco Knets, Arricam LT 2001 L Amore imperfetto, Italy, Yves Cape, Raffaele Massa, Arriflex 535 Mauvais Genres, France, Thierry Jault, Rachel Perez, Arriflex 535B Last Ball, USA, David Tumblety, Seff Dutemple, Arriflex 535B/435 Svjetsko Cudoviste, Croatia, Tomislav Pinter, Branco Knets, Arriflex 535B Monsieur Batignole, France, Gérard Simon, Robert Patzelt, Arriflex 535B Agent Sinikael, Estonia, Arko Okk, Dmitri Opekine, Moviecam Compact Angel s Face, Czech Republic, Jaroslav Brabec, Ivan Simunek, Arriflex 435/35-3 At kende sandheden, Denmark, Jan Weincke, Sören Berthelin, Arriflex 535B El Caballero Don Quijote, Spain, José Luis Alcaine, Groyo Sanchez, Moviecam Compact Absolute Hundred, Yugoslavia, Aleksandar Ilic, La Sirène Rouge, France, Denis Rouden, Sophie LeMaire, Aaton 35/Arriflex 2C Baby, Germany, Michael Mieke, Claudia Schnorr, Arriflex 535A Gott ist tot, Germany, Axel Block, Astrid Miegel, Moviecam Compact Mathilda, Germany, Uwe Mann, Sven Klages, Mini DV 35 Karamuk, Germany, Peter Przybylski, Christine Wagner, Arriflex Dark Blue World, Czech Republic/Germany, Vladimír Smutný, Vaclav Zajíček, Arriflex 535B/435 Little Senegal, USA, Benoît Chamaillard, Youcef Sahraoui, Steve Pizzo, Moviecam Compact Tiempos de azúcar, Spain, Porfirio Enríquez, José Ramón Delgado, Moviecam Compact Le Roi danse, France/Germany, Gérard Simon, AFC Robert Patzelt, Arriflex 535B/435 Down, Netherlands, Marc Felperlaan, Flip Bleekrode, Arriflex 535/Aaton 35 El Palo, Spain, Gonzalo Berridi, Paco Sanchez, Moviecam Compact Samsara, Germany/India, Rali Raltchev/Christo Bakalov, Nick Laws, Arriflex 535B Chopin.Pragnienie milosci, Poland, Edward Kłosiński, Tadeusz Obuchowicz, Moviecam Compact Revelation, Malta, Sam McCurdy, Jon Garwes, Arriflex 535B/435 Charlie Butterfly, Denmark, Eigil Bryld, Henrik Lyngbo, Moviecam Compact Training Day, USA, Mauro Fiore, Emil Hampton, Moviecam SL/Arriflex 435/C-Series La Lettre du Caire, France, Denis Gravouil, S. DeFenin/Y. Charrin, Arriflex 535B Ginostra, France/ Italy, Maurizio Calvesi, Leo Marc Dougall, Moviecam Compact/SL Winter Break, USA, George Mooradian, Theo Pingarelli, Moviecam Compact/SL Mockingbird Don t Sing, USA, Jeff Baustert, Joel Schwartz, Arriflex BL-4S Asoka, India, Santosh Sivan, Anand Kaliban, Arriflex 535B 1999 Petite Chérie, France, Pierre Millon, Pierre Weite, Arriflex BL4s Guest House Paradiso, Great Britain, Alan Almond, BSC John Bremmer, Arriflex 535B A Rumor Of Angels, USA, Roy H. Wagner, Jayson Clute, Moviecam Compact Chain of Fools, USA, Frederick Elmes, Larry Portman, Moviecam Compact Ataque Verbal, Spain, Alfonso Sanz, Jordi Monferrer, Moviecam Compact Bats, USA, George Mooradian, Mike Latino, Arriflex BL4s The House of Mirth, Great Britain, Remi Adefarasin, Mark Milsome, Arriflex 535B Finnlandia, Germany, Ali Gözkaja, Johnny Feurer, Arriflex BL4s The Old Man who Read Love Stories, France, Denis Lenoir, Hans Sonneveld, Moviecam Compact/SL Sezon na leszcza, Poland, Lukasz Kosmicki, Zbigniew Szukaka, Arriflex 535B Leyenda de fuego, Spain, Porfirio Enríquez, José Ramón Delgado, Moviecam Compact 1998 La Guerre Dans Le Haut Pays, France/Switzerland, Christophe Beaucarne, Severine Barde, Moviecam Compact Cactus, Spain, Julián Elizalde, Orion Busquets, Arriflex BL4s Tuvalu, Germany/Bulgaria, Emil Hristow, Anton Nakov, Arriflex BL4s Pan Tadeusz, Poland, Pawel Edelman, Zbigniew Gustowski, Moviecam Compact L Humanité, France, Yves Cape, Marie Sorribas, Moviecam Compact Dounia, France, Emmanuelle Le Fur, Helene Louvart/Nicolas Pernot, Aaton XTR The Melancholic Chicken, Czech Republic, Martin Cech, Jan Carda, Moviecam Compact Franck Spadone, France, Philippe Van Leeuw, Galatée Politics, Moviecam Compact I Dreamed of Africa, USA/Great Britain, Bernard Lutic, Simon Hume, Moviecam Compact/SL Manolito Gafotas, Spain, Alfonso Sanz, Jordi Monferrer, Moviecam Compact 1997 Blade, USA, Theo Van de Sande, Emil Hampton, Moviecam Compact Les Misérables, USA/Great Britain, Jörgen Persson, Lennarth Pettersson, Arriflex 535B Bare Skyer Beveger Stjernene, Norway, Svein Krøvel, Patrik Säfstrøm, Arriflex 535 Lautrec, France, Gérard Simon, AFC Gilles Guillard, Arriflex 535B Prison à Domicile, France, Paco Wiser, Tiphaine Helary, Moviecam Compact Al límite France, Armand Marco, Philippe Elusse, Arriflex 535B Star Wars Episode 1, USA/Great Britain, David Tattersall, Graham Hall, Arriflex 535B/ La Vie De Jesus, France, Philippe Van Leeuw, Philippe Elusse, Arriflex BL4s Tenue Correcte Exigée, France, Gérard Simon, Gilles Guillard, Moviecam Compact La Buena Vida, Spain, William Lubtchansky, Marie Lubtchansky, Moviecam Compact Skeletons, USA, Thomas L. Callaway, Greg Kidd, Arriflex BL4s Days of Grace aka Armon Aika, Finland, Pertti Mutanen, Janne Luukkainen, Arriflex 535 Eating Bitter, Great Britain, Steve Parker, John Bremer, Arriflex 535B XXL, France/USA, Philippe Pavans de Ceccatty, Hervé Dabadie, Moviecam Compact Tabarka Spain, Paco Belda, Chimo Fdez, Arriflex 35-3 Everyone Is Afraid Of The Dwarf, Hungary, Tibor Máthé, Tibor Oláh, Moviecam Super A River Made To Drown In, USA, Thomas L. Callaway, Greg Kidd, Arriflex BL4s 1995 The Bed, Czech Republic, Igor Luther, David Luther, Moviecam Compact These feature films have been shot with HAWK ANAMORPHIC LENSES Year Title Country DoP 1st AC Camera System/Optic p26_1115

30 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

31 Thank you Roland Emmerich and Markus Förderer for photographing Independence day: resurgence with Hawk Anamorphic Lenses Made in Germany by Vantage Film GmbH

32 psu 3 /pi:esju: ˌƟri:ˈ/ 1 an exclamation of surprise, wonder, pleasure, or the like: ~! Look at that! v.t. 2 to gain an enthusiastic response from; thrill. n. 3 an extraordinary success. 4 the feeling of wow!

33 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

34 4 channel recording psu -3x The Ultimate Video Assist The PSU-3X sets the standard for high-end HD digital video assist systems. With this latest iteration, Vantage Film delivers a powerful range of functionality and image quality in a tool that is compact, elegantly designed and intuitive to use. And because it s from Vantage, you can be sure the PSU-3X performs with rock-solid dependability. After 20 years of designing and building lenses and 15 years of making the PSU line of video assist systems, we at Vantage Film understand the specialized needs of filmmakers. The PSU-3X combines software and hardware into a single, extremely small and lightweight unit specifically designed to hold up under the duress of production. When the pressure s on, the PSU-3X delivers, flawlessly. The PSU-3X records video streams from as many as four cameras at once and is capable of playing back two separate takes while simultaneously displaying all four cameras on its high quality touch-screen. The result is vastly improved efficiency and a happy set. The heart of the PSU-3X is a state-of-the-art integrated dual HD processor for high definition video input and output. HD takes are displayed in HD quality on the unit s touch-screen, as well as on up to four outboard HD monitors. Simultaneous recording and playback saves time. 2x and 1.3x anamorphic desqueezing expand your options. Users of the PSU-3X rave about the unit s power attributes, which are far superior, especially in tough production environments. Battery operation lasts six hours, with hotswap capability eliminating headaches. AC power supply is also an option. Parallel operation offers recording and playback at the same time Two individual video-out streams for HD or SD monitors Monitoring of up to four sources at the same time Dual playback PSU Satellite ipadbased live stream and directors communication Anamorphic desqueezing for regular 2x and 1.3x squeeze LUT Manager all common formats unlimited Metadata Capturing XML file export Analog & Digital Timecode Multi Camera Shot Manager High speed take import/export Two independent audio signals Manual audio delay up to ±30 frames Built-in speaker Changeable SSD data storage 6 hours of battery operation Hot-swap of batteries Simplicity Ease of use is crucial to the on-set user of the PSU-3X. This operational simplicity might seem to conflict with the unit s vast array of functions many of them unavailable in any other system. But we place great importance on striking the proper balance with logical design. It s important to us that anyone from an untrained newbie to the most seasoned digital imaging technician can use this tool with facility. The PSU-3X s instruction manual is four pages long. Enough said. Built-in pivotable touch-screen monitor with highquality display Optional AC mains power supply High quality, solid, all-aluminium housing p30_1115 Made in Germany by Vantage Film GmbH For further information contact Vantage Film, Phone , Fax , Compact and lightweight (10.8 kg)

35 The perfect Crew Member PSU -3X and PSU Satellite prove to be indispensable tools satellite PSU Satellite Video assist professionals must find convenient, dependable ways to deliver quality images to the eyes that need to see them often in difficult, ever-shifting circumstances. This ingenious tool helps by transmitting images from the PSU-3X to a nicely housed, handheld, ipadbased unit called the PSU Satellite. It simply works, with very little delay and an array of accom panying functions. Your producer will thank you. The PSU is designed, manufactured, programmed and supported by one company. And it s a company that stands behind every nut and bolt and every board in the unit. David Goldy Goldsmith p31_1115 Made in Germany by Vantage Film GmbH

36 Manufactured by Vantage Form follows function, and we believe that the PSU-3X s outward elegance speaks of the ingenious functionality within. The compact design and construction of the PSU-3X is done completely in-house. We develop our own sophisticated electronics and other components with a single application in mind, without compromise. We have extensive experience with filmmaking tools that require extremely accurate yet bulletproof mechanics. All metal parts are machined aircraft-grade aluminum or machined stainless steel, which makes the unit very robust but also very lightweight. David Goldy Goldsmith on the PSU-3X: The PSU system offers portability and configuration possiblities that I haven t seen on any other system out there. The PSU is the focal point of the entire production. With the PSU, I m able to do everything a Director, Cinematographer, Producer, VFX Supervisor, or Script Supervisor requests. It provides a crystal clear picture. I can record and play back, and, with the built-in editor, I can quickly edit shots without transferring to a different system or software. Video effects capabilities are abundant. The software itself is incredibly intuitive. Say you record a shot and play it back for the Script Supervisor. Out of the blue, the Visual Effects Supervisor pops in and says, Do me a favor. Can you flop the image, blow it up 10%, and rotate it to the left? The answer is, Yes. I can do that within seconds. That request is accomplished without interfering with the playback I m doing for the Script Supervisor. The capability of multitasking is outrageously powerful. The PSU is compact and configurable. You can start your day on a sound stage in a controlled environment, do a shot, then load it into a truck and drive to the desert to do a high speed chase with the same system, going wirelessly. Then you can jump into a helicopter and do some aerial shots. And all the while, the production has access to everything, no matter where you are. Other devices I have used are dependent on a tower computer, or a laptop, with many external devices that have to work in conjunction: up-convertors, de-scalers, things made by various manufacturers. The PSU is designed, manufactured, programmed and supported by one company. And it s a company that stands behind every nut and bolt and every board in the unit. The Vantage PSU system has proven itself to be an indispensable tool, and my work has grown by leaps and bounds since I ve been using it. Recently I worked with Paul Thomas Anderson. He used the PSU Satellite all day long. I found it offered him freedom and on-set access like never before. We could communicate with each other through the Satellite. We played back live images from as many as four cameras up to 100 feet away. The Satellite is a wireless handheld viewing device in the palm of the Director s hand, that also provides access to storyboards script, s and live video with no visible delay. The ability to download takes for later review creates near-dailies way before they are created by the post house. David Goldy Goldsmith is a top video assist professional, with 20 years experience working in the business. Vantage PSU -3X Accessories AC Adapter Serves as power supply for the PSU V. EU or US version available. Remote Control Operates recording channels, player (play, pause, stop, skip), input switch, video-out sockets and action master. Sunshade Built like a traditional matte box sunshade to reduce reflections. Folded up it s a screen protection on location. Rain Cover Waterproof textile cover to protect the PSU in wet conditions. Requires PSU sunshade. Specifications and technical data contained herein are subject to change without notice. EP / EP European Patents granted PSU is a registered trademark of Vantage Film GmbH, Germany. p32_1115 Made in Germany by Vantage Film GmbH

37 lens /lenz/ n. pl. lens es v. n. 1 a piece of transparent substance, usually glass, curved on one or both sides, which makes a beam of light passing through it bend, spread out, become narrower, change direction, etc. It is used in spectacles, microscopes, cameras, etc. 2 a combination of ~es that first receives the rays from the object and forms the image on the negative or the sensor of a motion picture camera.

38 Spherical Prime Lenses Made in Germany by Vantage Film GmbH

39 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 reputation throughout the cinematography world for our uncompromising Hawk anamorphic lenses. Now, with a great deal of excitement and pride, Vantage takes an ambitious step by introducing our first line of spherical prime lenses: the Vantage One lenses. Why Vantage One? Because this entire set of cine lenses comes with an eyeopening T-stop of T1. This pioneering achievement opens new worlds of creative opportunity for cinematographers. This astonishing technical achievement is grounded in a deep understanding of the history of lens design, an awareness of today s fast-changing technological environment, and informative conversations with contemporary cinematographers about their requirements. The design philosophy behind Vantage One lenses is fundamentally different, taking advantage of basic changes in filmmaking technology to deliver a distinctive 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 mechanics and robust construction found in all of our lenses. Looking back In 1966, the Leica 50 mm T1.2 Noctilux lens became the first lens of its kind to achieve T1.2. The lens included one aspheric element, which was ground with a hand-guided tool, making it rare and extremely expensive to produce. In 1976, the lens was upgraded to a T1 version that replaced the aspheric element with a non-aspherical lens that took advantage of new developments in glass-making. It was a very smart calculation, done with relatively limited technology, and the resulting lens became an iconic still photography tool. Known for its beautiful bokeh, the 1976 Noctilux produced out-of-focus highlights with a distinctive three-dimensional, bubble-like quality and unique depth of field characteristics. In 2010, the lens was redesigned again using the latest technology, but photographers say that it lost some of its trademark personality. 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 limiting 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 with different film stocks and processing options to create 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 makers, who compete to offer the most precise and flawless lenses, differentiated and marketed with finer and finer 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

40 T1 For texture, not speed Before digital cameras made 800 ASA (and even faster speeds) common, cinematographers needed to achieve a certain exposure level. This fact drove the desire for high speed lenses. Today, with extremely light-sensitive digital sensors, that high speed is no longer an essential attribute of cine lenses. With this in mind, and using as a model the legendary Leica 50 mm T1 Noctilux still lens, we challenged our lens designers to create a T1 lens without using modern technologies like floating elements and aspheric lenses. Through extensive experimentation with exotic glass and clever arrangements of various parameters within those self-imposed limitations, Vantage has created a very high speed lens that renders superb results with a unique personality. The technological constraints that allow for overcorrected spherical aberrations in T1 lenses still produce extremely high definition, but differ from the standardized look of today s existing spherical prime cine lenses as they are opened. At T4, and T2, Vantage One lenses can give cinematographers the flawless look other modern lenses produce, but with superior image illumination. And unlike those of our competitors, the Vantage One lenses offer additional versatility at other stops. At T1.4, the results are a bit more forgiving, yet still extremely good, and at T1, the Vantage One lenses lend the image a lovely, subtle creaminess, perfect for skin tones. No compromises were made in adapting the new design to all existing and future digital imaging systems. The distance from the rear elements of the Vantage One lenses to the sensor has been maximized, and as a result, light rays travel to the sensor in very straight lines. Benefits include less color fringing and excellent, even illumination to the corners of the frame 100% at T2, and 85% illumination even at T1. Change in postproduction present opportunities An important change in cinematography technology that factors into our design philosophy is the complete revamp of digital postproduction for motion pictures. In the past, the relentless pursuit of improved sharpness in lenses was driven in part by the losses in image quality that resulted from the multi-generational duplication process used to make prints. The sharpest possible taking lens helped offset these losses and delivered the maximum definition possible to the screen. That has changed. Today, the path from capture through to projection has the potential to be visually lossless. Cinematographers tell us that the sharpness of the image can be too intense and unforgiving, too close to reality for storytelling. In some situations, this sharpness calls for additional makeup, adaptations in set decoration and/or lighting time, or careful filtration to bring down clarity. This new circumstance allowed our lens designers to shift emphasis from maximum sharpness to other attributes. In the Vantage One lenses, certain gentle aberrations and other characteristics that might be considered flaws by others are welcomed as storytelling tools for cinematographers to manipulate as they seek to transport audiences 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. We understand filmmakers. Our purpose is not to create the most flawless lens the world has ever known, but rather to provide filmmaking artists with the colors they want. Made in Germany by Vantage Film GmbH

41 Vantage One Two Versions Regular or partially uncoated Vantage One lenses will be offered in two versions. The first includes the regular lens coatings, and the second, marked with a distinctive red ring, will incorporate some optical elements with no coating. Leaving some elements uncoated results in additional flaring and lower contrast, qualities that blend very well with the other characteristics of the Vantage One line. Vantage One lenses feature all the durable, dependable mechanics and robust construction that cinematographers have come to expect from our Hawk anamorphics. The experience of designing and building anamorphic lenses informs our work on the Vantage One line. Contrary to the trend in our business, the Vantage One lenses are very small and compact. LENS Regular or partially uncoated Focal Length Stop CFD SUPER CLOSE FOCUS Angle of View HORIZONTAL Weight Front Diameter Overall Length Filter Size Vantage one mm T m kg 4.4 Ibs 110 mm 152 mm 4x5.65 Vantage one 21 2m T m kg 4.0 Ibs 110 mm 142 mm 4x5.65 Vantage one mm T m kg 3.5 Ibs 110 mm 124 mm 4x5.65 Vantage one mm T m kg 4.0 Ibs 110 mm 126 mm 4x5.65 Vantage one mm T m kg 3.3 Ibs 110 mm 126 mm 4x5.65 Vantage one mm T m kg 3.1 Ibs 110 mm 124 mm 4x5.65 Vantage one mm T m kg 3.5 Ibs 110 mm 124 mm 4x5.65 Vantage one mm T m kg 4.4 Ibs 128 mm 142 mm 4x5.65 Vantage one mm T m kg 8.4 Ibs 156 mm 174 mm 4x5.65 Technical specifications are subject to change without notice p36_1115 Made in Germany by Vantage Film GmbH

42 HAWK 10-24MM/T2.5 Super Wide Angle Zoom Lens extremely compact and lightweight super close focus to the front element The spherical Hawk mm/t2.5 zoom is the first 35 mm ultra-wide angle zoom lens worldwide. The Hawk 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 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 from the center to the edges and virtually free of color fringing, regardless of the focal length setting. By using a ten-bladed iris diaphragm that produces a nearly circular aperture, out-of-focus images in front of or behind the subject are rendered as pleasing blurs. Focal length 10 mm - 24 mm Film format Super 35 ANSI (18,7 x 24,9 mm) Maximum aperture T2.5 CfD 24 cm / 9½ Lens construction 17 elements in 13 groups, 2 glass mold aspherical, 1 compound aspherical and 2 UD lens elements Angle of view 98,9-56,2 horizontal (18,7 x 24,9 mm) Dimensions 170 mm diam. x 185 mm Weight 3.95 kg / 8.7 lbs. Front diameter 156 mm Filter size 6.6 x 6.6 p37_1115 Made in Germany by Vantage Film GmbH

43 VANTAGE MM ZOOM extremely compact and lightweight super close focus to the front element The Vantage mm/ 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 package with the Vantage 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 p38_1115 Made in Germany by Vantage Film GmbH

44 HAWK mm High Speed Telephoto Zoom Lens you can quickly change it from a mm to a mm For shooting on film, this is the industry standard at the 450 mm end of zoom range. It s also the fastest mm available. How does this lens give you two sets of zoom ranges? it comes with a separate optical reducer. When you insert that, all the focal length are reduced 0.7 times. Choice of filters: Filters on the front of a long lens degrade its image of course. Our filter slot is near the back and it accepts one filter holder. The lens comes with two filter slots; each slot holds two 48 mm filters. One lets you use any two filters; the other comes with a geared rotatable polarizer and space for one other filter. Centering and tracking: 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 surprised at how well a zoom lens this long stays on target all the way. Heat and cold: Because it s physically long, we have also paid extra attention to metal expansion and contraction. Instead of the usual aluminum, our lens rear section is thin stainless steel. As a result, back focus shift is invisible, even in arctic cold and tropical heat. If you take the mm on location, you also take the world s fastest mm zoom both of them designed to help you get the best images. Technical Data Focal Length T-Stop Image Format Lens Mount Weight mm 2.8 constant throughout the entire range 35 mm ANSI 18.6 x 24.9 mm PL 15.9 kg/35 lb The Hawk 0.7x Reducer can be easily attached on location. Number of Elements 18 in 12 groups Overall Lenght 660 mm 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. Front Diameter Internal Filters Temp.Range Accessories ø 156 mm ø 48 mm (2 pcs.) -20 C +50 C -5 F +125 F no calibration variation Vantage Support Plate, 48 mm Filter Set, Polarizer, 0.7x Reducer You are welcome to test the zooming accuracy on our test projectors before your next shoot. p39_1115 Made in Germany by Vantage Film GmbH

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46 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 viewfinders for 35 mm cine cameras, and these cine lenses are still known in the film industry for their robust nature and the high quality of their optics. Kinoptik s high point in the cinema industry lasted from the 1950s to the 1980s with the success of their Apochromat and Tegea 9.8 lens. Kinoptik S.A. closed its doors in Features Super-Close Focus Rich Colors and Nice Fall Off Warm Skin Tones and Beautiful Bokehs Wide Range of Focal Lengths Rugged, Modern Mechanics PL Mount Front Diameter of 95 mm Kinoptik-Paris Lenses Focal Length Stop CFD 18 mm T m 7 25 mm T m 8 35 mm T m 8 40 mm T m 8 50 mm T m mm T m mm T m mm T m 2 8 Kinoptik lenses are sharp, have subtle fall off, beautiful bokehs and provide vivid images. The color temperature is warm, creating nice skin tones. These lenses were originally manufactured in the mid-20th century and are rarely found today. Vantage has re-housed and adapted these lenses to give cinematographers the opportunity to use this classic glass with modern cameras and mechanics. These newly modified lenses are extremely rugged and have been modified for super-close focus macro capabilities. Vantage s technical expertise was integral in realizing this project, and great care was taken to once again make these amazing vintage lenses available. p41_1115

47 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. But they can also help you to capture the atmosphere you want by fine-tuning the contrast and saturation. Doing that in digital post almost never looks natural, and it s done by someone else. With these lenses, you control the look and the feeling of each shot in the camera. Naturally, you can expect a similar effect from every lens in the set. There are some coatings still in place on all of them and we have re moved fewer coatings from some focal lengths, more from others, so they all match. They re all Zeiss T1.3 designs, but our coating removal causes them to lose about one-third of a stop. And they re not just for noticeable flare people have shot with them outside on cloudy days. You can place the sun in a corner of the frame for a spectacular effect, says DP Ericson Core, But I have also used uncoated lenses on a soundstage. When I use them, it s to set the mood for that particular scene and to make the images speak. With stray light reflecting off multiple glass elements and from the black interior of the lens barrel, moving the light or the lens a few millimeters gives you a range of unpredictable veiling choices that you could never get with a filter every effect slightly different. (And this may be a good way to get the film look on video.) The set of uncoated lenses consists of following primes and zooms: Zeiss 14mm Zeiss 18mm Zeiss 25mm Zeiss 35mm Zeiss 50mm Zeiss 85mm Angénieux mm Angénieux mm If you d like to run some tests with our Ambience Lenses before your next important shoot, give us a call. p42_1115

48 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 Its Super Cinephor projection lens became the industry standard when it was introduced in 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

49 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 performance. Canon paved the way with the introduction of its aspherical lenses. Features Wide range of focal length for wider application. High speed for shooting under low light. Light weight and compact due to aspherical lens. Unrivaled high M.T.F and high resolution. Minimized flare due to aspherical lens. ARRI-PL-Mount Completely redesigned, the new K-35 A Series offer ruggedness and flexibility for professional users. Improved coating gives professional color balance. The set of K-35 consist of following lenses: Canon K mm/t1.5, cfd 0.3 m Canon K mm/t1.5, cfd 0.3 m Canon K mm/t1.3, cfd 0.3 m Canon K mm/t1.3, cfd 0.45 m Canon K mm/t1.3, cfd 0.9 m Canon K mm Macro Zoom/, cfd 1.2 m * Canon s advertising text from If you d like to run some tests with our K-35 lenses before your next important shoot, give us a call. p44_1115

50 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 Vintage look, flares and distortion Perfect for modern digital cameras Compact and lightweight Internal focusing Arri-PL-Mount The set of Kowa Anamorphics consists of following lenses: KOWA Cine Prominar Anamorphic 40 mm/t2.3, 0.9 KOWA Cine Prominar Anamorphic 50 mm/t2.3, 0.9 KOWA Cine Prominar Anamorphic 75 mm/, 0.9 KOWA Cine Prominar Anamorphic 100 mm/t3.4, 1.52 m If you d like to run some tests with our Kowa Anamorphics lenses before your next important shoot, give us a call. p45_1115

51 LensBaby PL Our Lensbaby help you create desired out of focus effects Lensbaby PL is the hybrid love child of an old-fashioned bellows camera and an up-tight, tilt-shift lens. Lensbaby allows precise focus control. Featuring a low dispersion, multi-coated optical glass doublet, the Lensbaby delivers images with a tack-sharp sweet spot. Seven different iris disks allow aperture settings between T2 and T22. How to use the Lensbaby: Focus your Lensbaby by compressing the lens with your fingers until your subject comes into focus. Then you can move the sweet spot of sharp focus around the image by bending the lens. When the sweet spot is sharp and placed where you want, press the Locking Button on the Focusing Collar to lock your Lensbaby into place. You can then make precise adjust ments to your focus by rotating the Fine Focusing Ring. You can also adjust 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 Iris Manual/Fingertip with two additional types of fine focusing Interchangeable levitating aperture discs If you d like to run some tests with our Lensbaby before your next important shoot, give us a call. p46_1115

52 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 0.27m / 11 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 p47_1115 Made in Germany by Vantage Film GmbH

53 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 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. Optical design 6 elements in 3 groups Weight 300 g /10.5 oz Overall length 45 mm The following lenses with Universal Mount accept the Vantage 0.7x Reducer: Century Nikon 300 mm / T2 (210 mm / T1.4) Century Nikon 300 mm / (210 mm / T2) Century Nikon 400 mm / (280 mm / T2) Century Nikon 600 mm / T4 (420 mm / ) Century Canon 300 mm / (210 mm / T2) Century Canon 400 mm / (280 mm / T2) Century Canon 800 mm / T5.6 (560 mm / T4) Century Periscope 2000 Mk1 & Mk2 CPT Superscope CPT Supersnorkel The Vantage 0.7x Reducer attached to the Century Series 2000 Mk2 Periscope Isco Specimagine Macro Lens p48_1115 Made in Germany by Vantage Film GmbH

54 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 in PL- or PV-mount Exposure compensation is shown on the left side of every lens Vantage 60 mm/ MACRO Internal Focusing Lens Focal Length Stop CFD Weight Front Diameter Overall Length Macro mm T m 6,3 1.9 kg 4.2 Ibs 110 mm 112 mm Macro mm T m 5,5 1.1 kg 2.4 Ibs 110 mm 90 mm Macro mm T m 5,5 1.1 kg 2.4 Ibs 110 mm 94 mm Macro mm T m 5,9 1.2 kg 2.6 Ibs 110 mm 100 mm Macro mm T m 6,7 1.5 kg 3.3 Ibs 110 mm 115 mm Macro mm T m 9,1 1.4 kg 3.1 Ibs 110 mm 120 mm Macro mm T m 9,8 1.8 kg 4.0 Ibs 110 mm 170 mm Macro mm T m kg 4.9 Ibs 110 mm 200 mm Macro mm T m kg 5.7 Ibs 110 mm 245 mm Macro mm T m kg 8.8 Ibs 110 mm 345 mm Technical specifications are subject to change without notice p49_1115 Made in Germany by Vantage Film GmbH

55 Isco Specimagine A Long Distance Macro Lens For microscopic 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. The Specimagine Long Distance Macro Lens system is a modular system consisting of an optical basic module and five attachment lenses. These provide a magnification range of 0.3x to 10x and have a working distance of 20 cm (6.5 inches) to 4.8 cm (about 2 inches). At the 24 inch range, the 1:1 image common to most macro lenses is achieved but from a much further distance. 1x 4x 10x The Specimagine Lens system accepts two filters. It can be mounted on most 35 mm and 16 mm cameras. It has an aperture range of T22 to T64, and the lens is compact and lightweight, measuring about 14 long and weighing just 1.6 kg. Due to increased distance from the subject, lighting options are improved and with T-Stops all the way to T64, depth of field can be exceptional. TECHNICAL SPECIFICATIONS FOR ISCO-OPTIC SPECIMAGINE LENS AND MODULES Standard Lens CF1 Attachment CF2 Attachment CF3 Attachment CF4 Attachment Working Distance cm (16 to 79 ) cm (12 to 28 ) cm (6 to 9 ) cm (4 to 5 ) cm (2 to 2.3 ) Magnification 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

56 T-REX SUPERSCOPE and skater SCOPE MINI T-REX T-Rex Superscope The T-Rex Superscope is a multidirectional snorkel system that is available in both standard (T-Stop 7.1) and high-speed versions (T-Stop 5.6). It provides very high image quality and matches will with modern zooms and primes. 105 mm 600 mm T-Rex Superscope Standard Version Available Lenses include , 8-18, 17-36, and mm. Borescope optional 18 Downward Tilt from horizontal for Repositioning 360 Optical Image Rotation Macro Functionality Accepts two 48 mm Filters High-Speed Version uses Leica Glass High-Speed Version has Anamorphic Option 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. T-Stop 5.6 Tilt Module Range: +105 to Optical Image Rotation All Gears Can be Motor Driven Macro Functionality Available Mounts: PL, BNCR, PV p51_1115

57 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 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 2.8, and the Periscope s iris to the T-stop the exposure requires. The iris provides the control necessary to minimize vignetting. The Periscope s new internal focusing system makes it easy to utilize a standard follow focus unit. Advanced Optical Performance for miniature environments and real world scenarios Super-sharp images, even wide open High Resolution using ultra-low dispersion Fluoro-Phosphate glass elements Simplified Exposure Control: Iris Focus in T-Stops & Standard Follow Focus Straight and 90 Views Accepts a wide range of lenses. (Geared 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 Specifications 90 View Straight View T-Stop Range T4 - T32 T4 - T32 Camera Mounts Interchangeable Interchangeable Lens Mounts Interchangeable Interchangeable Dimensions L x 3.90 D x 3.10 W L x 3.90 D x 3.10 Weight 10 lbs. 3 oz. 10 lbs. 1 oz. * Images are inverted and reverted p52_1115

58 op ti cal /opʹti kǝl/ adj. 1 of, pertaining to, or applying optics or the principles of optics. 2 constructed to assist sight or to correct defects in vision. 3 of or pertaining to sight or vision, visual. 4 of or pertaining to the eye. tool /tōōl/ n. 1 an implement, esp. one held in the hand, for performing or facilitating mechanical operations. 2 any instrument of manual operation. fil ter /filʹtǝr/ n. 1 any substance, as cloth, paper, porous porcelain, or a layer of charcoal or sand, through which liquid or gas is passed to remove suspended impurities or to remove solids. 2 any of various analogous devices, as for removing dust from air or impurities from tobacco smoke, or for eliminating certain kinds of light rays. 3 Photog. a lens screen of dyed gelatin or glass for controlling the rendering of color or for diminishing the intensity of light. optical ~s the largest variety is offered by Vantage.

59 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 new Vantage Blue-Vision EXP filters are thinner than the original version and only take up one slot in a standard matte box. Although flares can easily be attained with these filters, Vantage recommends proper testing of the effect in advance. The Blue-Vision EXP comes as a set of five filters and is available in two sizes (6.6 x 6.6 or 4 x 5.65 ). Each filter has its own characteristic that produces a different effect using strategically placed filaments (8 microns) to diffuse light. No. 1 produces the classic streak. No. 2 produces a frayed streak. No. 3 contains randomly placed filaments, and No. 4 and No. 5 both contain a circle of filaments that create blue-iris effects. Colorless Flares: Vantage White-Vision EXP is the identical product, without the blue. All Blue-Vision attachments are precisely tuned to the performance of Hawk Anamorphics and offer an especially pleasing solution when combined with them. However, these attachments can also be used with many spherical lenses from different manufacturers as well. no effect Vantage Blue-Vision EXP No. 1 European Patent B1 granted. German Design Reg. No Blue-Vision is a registered trademark of Vantage Film Produce Colorless Effects with Vantage White-Vision EXP p53_1115 Made in Germany by Vantage Film GmbH For further information For further contact information Vantage Film, contact Phone Vantage Film, 26795, Phone Fax , 26795, Fax ,

60 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 longstanding curiosity with light refraction led to years of Vantage-supported experimentation on a wide variety of materials. His work resulted in the development of these filters and the manufacturing techniques that make them and their flawless optical qualities possible. Vantage Bethke Effect 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, Carnaby Street 1968, Dandelion, Fish Swarm, Ice Dust, Kojak Blue, 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. Equally crucial to success was Bethke s development of patented methods for the manufacture of technically perfect filters that incorporate these materials. We then named the various filters, such 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. 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 sometimes the best cinema breaks the rules; these new filters work to break a few as well. Kojak Red Carnaby Street 1968 Las Vegas 5am Original frame grabs. Shot with Hawk 45-90mm/ 1.3x Squeeze 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 filters before your next important shoot, give us a call. p53_1115

61 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 Swarovski TM crystals, made by the legendary Austrian crystal manufacturer. The second crucial difference is that the Glare Effect Filters are designed to redirect light from outside the frame. As a result, the effect is not generated by a light source within the frame. The Bethke Filters, on the other hand, usually work with a light source that is present in 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. Vantage Glare Effect 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 five filters: A, B, C, D, E. Glare Effect is a registered trademark of Vantage Film 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 shot, to create dynamic effects. Mini Prisms used in Vantage Glare-Effect A 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. High Quality Glass Crystals with Cut Diamonds are used in Vantage Glare-Effect B If you d like to run some tests with our Vantage Glare Effect filters before your next important shoot, give us a call. p54_1115

62 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 True Pol Circular filters. 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 mm Optimo p56_1115 Made in Germany by Vantage Film GmbH Patent pending

63 Vantage Filter Overview The widest range of filters on earth: We carry SCHNEIDER, HARRISON, PANCHRO, TIFFEN, FORMATT, WILSON, HOYA, Filter Gallery & VANTAGE. Apart from the common sizes (6.6 x 6.6 and 4 x 5.65 ), most of our filters are also available in 40.5 mm and 48 mm diameter. These round filters enable you to use your filter sets in telephoto and periscope lenses. Select from more than 6000 filters! Vantage Rotating Pola Frames and Pola Frames XL, Slide Diopters, Split Diopters, Strip Diopters, Spot Diopters, Squeeze Diopters and the new Slender Diopter have been designed by us to meet special needs. Also in stock are the new Vantage Blue-Vision EXP, Vantage White-Vision EXP, Bethke-Effect, Vantage Glare-Effect, Reverse Grads, Dual Grads, Variable Day-For-Night filters, Razor Sharp ND Grads, Varicolor filters, Super-Enhancer and Center-Spot filters, as well as such accessories as our Diopter Holder, Vantage Glass Holder, Matte Box Tilt Adapter, Vantage Tilt Stages, Vantage Freestyle Filter Holder Kit and the ARRI Varicon System. Light Correction: 80s, 81s, 81EFNs (81EFN3 81EFN9), 82s, 85s (85, 85 N3-85N12), 85Bs (85B, 85BN3 85BN9), 85C, Corals (1/8-5), Coral Grads (½-7), LL-D, FLB, FLD, 812, 81-one, 81-two Neutral Density: Regular NDs (ND03-ND12), Special NDs ND015 (½ Stop), ND15 (5 Stops), ND18 (6 Stops), ND21 (7 Stops), ND30 (10 Stops), Reflective NDs (ND03-ND12), IRNDs (IRND03-IRND24), Hot Mirror NDs, ND Grads, ND 1/3 Grads, Razor Sharp ND Grads (03/06/09/12), ND Stripes, Reverse Grads, Horizon Blenders, Neutral Blended Ratio Attenuators, Dual Grad, Center Spot NDs, Center Spot NDs Oval Polarizing: True Pol Linear & Circular, Ultra Pol, True Pol 85, One Stop Pola, Vantage Pola Frames and Pola Frames XL Clear / UV: Optical Flat MC, UV 410, Haze 2E, True Cut 750 IR (Infrared), Hot Mirror, T1 IR, Protection Glasses 50 x 60 cm & 100 x 100 cm, Semi-Transparent Mirrors12 x 24 & 15 x 30, Front Mirrored Glass 20 x 30 cm Sunset & Sunrise: Sunset, Skyfire, Twilight, Classic Sunset, Twilight Sunset, Blue Sunset, Orange Sunset, Orange Sunrise, Pink Sunrise, Rose Sunrise FX-Colors: Amber, Antique-Suede, Apricot, Aqua, Blue, Blue- Gray, Chocolate, Cranberry, Gold, Golden-Sepia, Grape, Jade, Lime, Maui Brown, Mitchell Green, Nude FX, Orange, Pink, Plum, Sahara Gold (Technicolor Effect), Sapphire Blue, Sepia, Storm Blue, Straw, Tangerine, Tobacco, Tropic Blue, Vantage-Green, Vantage-Monochrome available as solid colors, grads and attenuators CC-Colors: Red / Blue / Green / Yellow / Magenta / Cyan all available as solid colors and grads Diffusion, Low Contrast & Fogs: Vantage Distortion 1 4, Filter Gallery Distortion, Soft FX, Classic Soft, HD Classic Soft, Classic Black Soft, Diffusion, MITCHELL Diffusion, Center Spot Diffusion, Crystal Diffusion, Black Diffusion FX, Satin, Black Satin, Pearlescent, Gold Diffusion FX, Glimmer Glass, Black Glimmer Glass, Bronze Glimmer Glass, Hollywood Black Magic, Black Dot Texture Screen, SoftNet Black, Net Frame, Low Contrast, Low Con, Soft Contrast, Ultra Contrast, ProMist, Black ProMist, Misty Morn, White Frost, Black Frost, Warm Black Frost, Supafrost, Fog, Double Fog, Fog Grads, Scenic Fog, Ash Filter, VariCon Enhancing, Day for Night, Stars & Streaks: Red Enhancer, Blue Enhancer, Green Enhancer, Super-Enhancer, Varicolor, Day for Night, Variable Day for Night, Cool Day for Night, Day for Night Monochrome, Star Effect 4 & 6 Points, Hollywood Star, Hyper Star, North Star, Vector Star, Streak Effect 2 & 3 mm, Bethke-Effect, Vantage Glare-Effect, Vantage Blue-Vision, Vantage Blue-Vision EXP, Vantage White-Vision EXP, Vantage Color-Vision (Red, Brown, Purple, etc.), Pink Zebra Black & White Colors: Yellow 6, Yellow 8, Yellow 9, Yellow-Green 11, Yellow 12, Green 13, Yellow 15, Orange 16, Orange 21, Orange 22, Light-Red 23A, Red 25, Dark-Red 29, Dark-Blue 47, Light-Green 56, Dark-Green 58, Infrared 87 Diopters: Diopters, unmounted Diopters, Vantage Mini Diopters, Vantage Slender Diopter, Vantage Slide Diopters, Split Diopters, Vantage Strip Diopters, Vantage Spot Diopters (centered & offset), Vantage Squeeze Diopters p57_1115

64 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 formulated optical materials to move the image the camera sees. You can independently adjust on both X and Y 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. Clairmont Image Shaker with both actuators for X and Y axis, mounted powerdistribution-box and control-box. 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

65 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 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 goal of providing filmmakers with new creative power and flexibility. The latest example is the new Vantage Slender Diopter. The Vantage Slender Diopter offers cinematographers the convenience of a high quality diopter in a standard rectangular 4x5.65 filter frame. By using extremely expensive Ohara TM S-LAH51 glass, we ve created an ultra thin tool that uses a single filter slot in a standard ARRI TM matte box often an advantage given the increased need for filters in today s digital cameras. The Vantage Slender Diopter also obviates the need for timeconsuming mounting with a donut. Instead, adding or removing the Slender Diopter is as easy and quick as adding or removing a filter. The Vantage Slender Diopter has a magnification strength of +0.8, as opposed to the normal +1, extending the focal distance at infinity, with a small sacrifice of close focus distance. This compromise offers additional flexibility at the far end of the focal plane. Features of the Vantage Slender Diopter: Extremely thin uses a single filter slot Rectangular shape covers wide lenses Magnification power of +0.8 adds distance Multiple anti-reflective coating on both sides eliminates ghosting Very convenient insertion and removal even with clip-on matte boxes Precise manufacturing yields extremely high picture quality with almost no distortion or aberration Designed to work seamlessly with Hawk and Vantage lenses The VANTAGE Slender Diopter uses a single filter slot in the matte box. If you d like to run some tests with our Slender Diopter before your next important shoot, give us a call. p59_1115

66 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 Slide Diopters into an Arri LMB-4 clip-on matte box. Vantage Spot Diopter with 25 mm bore - offset 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: Hawk V-Series 25 mm Vantage Slide Diopter +2 used with an ARRI LMB-4 Vantage Slide Diopter +1 used with an ARRI MB-14 p60_1115 Made in Germany by Vantage Film GmbH

67 VANTAGE STRIP DIOPTERS Vantage Strip Diopters are designed for use with a ARRI MB-14 matte box. Using a 6-filter stage, three Vantage Strip Diopters can be mounted at the same time to give the desired effect. Geared Vantage Strip Diopters frames allowing motorized in-shot movements A Reverse-Module for extreme out-of-focus effects is available Vantage Strip Diopter 15 mm wide Vantage Strip Diopter 30 mm wide A set contains six Diopters optical power: +0.5, +1, +1.5 strip width: 15 mm, 30 mm diopter dimension: 6.6 widest lens covered: Zeiss 10 mm p61_1115 Made in Germany by Vantage Film GmbH

68 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 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 Vantage Squeeze Diopter with 75 mm neutral zone p62_1115 Made in Germany by Vantage Film GmbH

69 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 bore diameter: 25 mm, 50 mm bore position: centered, offset diopter dimension: 6 widest lens covered: Zeiss 10 mm Vantage Spot Diopter with 50 mm bore p63_1115 Made in Germany by Vantage Film GmbH

70 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 wideangle 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 Easy access dual filter slots. Widest Low-Angle Prism Available Point of View as low as 2.5 (6.35cm) Specially Coated, High-Density Glass Precision Construction Housing Includes Adapter for 4 x4 filter holders Less than ½ T-stop Light Loss Dimensions 7 ½ L x 9 ¾ W x 6 H (190 x 250 x 150 mm) Weight 15.5 lbs (7 kg) Century s Super Wide Angle Prism sits only 0.25 off the surface which permits a point of view less than 2.5 from the floor or ceiling. The Prism can be inverted for high angle shots or when working in tight quarters. p64_1115

71 lens /lenz/ n. pl. lens es v. n. 1 a piece of transparent substance, usually glass, curved on one or both sides, which makes a beam of light passing through it bend, spread out, become narrower, change direction, etc. It is used in spectacles, microscopes, cameras, etc. 2 a combination of ~es that first receives the rays from the object and forms the image on the negative or the sensor of a motion picture camera. ta ble /tāʹbǝl/ n., v. 1 a flat or plane surface; a level area. 2 a concise list or guide 3 an arrangement of words, numbers, images as in parallel columns, to exhibit a set of facts or relations in a definite, compact, and comprehensive form; a synopsis or scheme. lens ~ [as in Vantage Lens Table] list of available high class motion picture lenses, stating their specification, focal length, t-stop and close focus distance, illustrated by fine photographs. 0185V_katalogDeckblatt4.indd :00

72 Vantage Lens Table 11/2014 I Vantage Lens table PL - Mount Fisheye Lenses / Super Wide Angle Primes Lens Focal Length Aperture Cfd VANTAGE Super-Fisheye Century Nikon Fisheye 6 mm 7.2 mm 8 mm 9.6 mm T3.3 T m 0.27 m 0.24 m 0.25 m VANTAGE Super-Fisheye 6 mm OPTAR Fisheye Full Frame Fix Focus 9 mm T m Century Tégéa Wide Angle Attachment 9.8 mm gives 6.8 mm T2.3 T m 0.20 m Zeiss 10 mm T m Vantage 12 mm 14 mm T2 T m 0.25 m Primes Lens Focal Length Aperture Cfd Vantage one 40 mm T1 Vantage One 17.5 mm 2m 25 mm 32 mm 40 mm 50 mm 65 mm 90 mm 120 mm T 1 T 1 T 1 T 1 T 1 T 1 T 1 T 1 T m 0.25 m 0.25 m 0.25 m 0.34 m 0.34 m 0.34 m 0.50 m 0.75 m Zeiss 10 mm T2.1 COOKE S4 12 mm 14 mm 16 mm 18 mm 2m 25 mm 27 mm 32 mm 35 mm 40 mm 50 mm 65 mm T2 T2 T2 T2 T2 T2 T2 T2 T2 T2 T2 T m 0.20 m 0.25 m 0.22 m 0.22 m 0.22 m 0.25 m 0.30 m 0.34 m 0.39 m 0.50 m 0.70 m Vantage 14 mm T2 COOKE S4 65 mm T2 OPTAR Fisheye 9 mm T2.5 Century Tégéa 9.8 mm/t2.3 with Wide Angle Attachment p65_1115

73 Vantage Lens Table 11/2014 II Primes continued Lens Focal Length Aperture Cfd COOKE S4 75 mm 100 mm 135 mm 150 mm 180 mm T2 T2 T2 T2 T m 0.90 m 0.77 m 1.24 m COOKE S4 180 mm T2 Soft Focus Attachment for 65 mm & 75 mm T2 T m 0.75 m COOKE Mini S4 18 mm 25 mm 32 mm 40 mm 50 mm 75 mm 100 mm 135 mm 0.25 m 0.25 m 0.30 m 0.40 m 0.50 m 0.75 m 0.90 m COOKE Mini S4 32 mm Leica Summilux C Prime ZEISS Ultra Prime 16 mm 18 mm 2m 25 mm 35 mm 40 mm 50 mm 65 mm 75 mm 100 mm R 8 mm 10 mm 12 mm 14 mm 16 mm 20 mm 24 mm 28 mm 32 mm 40 mm 50 mm 65 mm 85 mm 100 mm 135 mm 180 mm T1.4 T1.4 T1.4 T1.4 T1.4 T1.4 T1.4 T1.4 T1.4 T1.4 T2.1 T2 T1.9 T1.9 T1.9 T1.9 T1.9 T1.9 T1.9 T1.9 T1.9 T1.9 T1.9 T1.9 T m 0.35 m m m 0.43 m 0.70 m 0.90 m 0.35 m 0.33 m 0.30 m 0.22 m 0.25 m 0.28 m 0.30 m 0.28 m 0.35 m 0.38 m 0.60 m 0.65 m 0.90 m 1.50 m 2.50 m Leica Summilux C Prime 50 mm T1.4 Zeiss Ultra Prime 8 mm R Zeiss Ultra Prime 180 mm T1.9 ZEISS Ultra Prime LDS 14 mm 16 mm 20 mm 24 mm 28 mm 32 mm 40 mm 50 mm 85 mm 100 mm 135 mm T1.9 T1.9 T1.9 T1.9 T1.9 T1.9 T1.9 T1.9 T1.9 T1.9 T m 0.25 m 0.28 m 0.30 m 0.28 m 0.35 m 0.38 m 0.60 m 0.90 m 1.50 m Zeiss Ultra Prime 135 mm T1.9 LDS p66_1115

74 Vantage Lens Table 11/2014 III Primes continued Lens Focal Length Aperture Cfd ZEISS Master Prime Zeiss High Speed Zeiss Standard Telephoto 12 mm 14 mm 16 mm 18 mm 2m 25 mm 27 mm 32 mm 35 mm 40 mm 50 mm 65 mm 75 mm 100 mm 135 mm 150 mm 18 mm 25 mm 35 mm 50 mm 65 mm 85 mm 16 mm 20 mm 24 mm 28 mm 32 mm 40 mm 50 mm 85 mm 100 mm 135 mm T1.3 T1.3 T1.3 T1.3 T1.3 T1.3 T1.3 T1.3 T1.3 T1.3 T1.3 T1.3 T1.3 T1.3 T1.3 T1.3 T1.3 T1.3 T1.3 T1.3 T1.3 T1.3 T2.1 T2.1 T2.1 T2.1 T2.1 T2.1 T2.1 T2.1 T2.1 T m 0.35 m 0.35 m 0.35 m 0.35 m 0.35 m 0.35 m 0.35 m 0.35 m 0.40 m 0.50 m 0.65 m 0.80 m 0.95 m 1.50 m 0.24 m 0.24 m 0.33 m 0.67 m 0.67 m 0.87 m 0.23 m 0.20 m 0.32 m 0.27 m 0.55 m 0.89 m 0.44 m 0.88 m 0.99 m 1.46 m Zeiss Master Prime 12 mm T1.3 Zeiss Master Prime 150 mm T1.3 Zeiss High Speed 65 mm T1.3 Zeiss Standard 50 mm T2.1 Lens Focal Length Aperture Cfd Century Canon 200 mm 300 mm 400 mm 500 mm 800 mm T2 T4.5 T m 2.80 m 3.60 m 5.00 m m Century 1000 mm T m Century Nikon 200 mm 300 mm 400 mm 300 mm 600 mm T2 T2 High Speed T m 3.60 m 3.60 m 3.90 m 6.50 m Century Canon 400 mm Century NikoN High Speed Telephoto 300 mm T2 Century NIkon 400 mm p67_1115

75 Vantage Lens Table 11/2014 IV Zooms Lens Focal Length Aperture Cfd Angénieux Optimo Zoom mm mm mm mm mm T2.6 T m 0.60 m m Angénieux Optimo mm T2.6 Angénieux Zoom Angénieux Zoom HR Mesmerizer mm mm for mm & mm HR T2.9 T Stop +1 Stop 0.75 m 1.70 m 0.75 m 1.70 m Angénieux Optimo mm COOKE S4 Zoom mm T m COOKE Varo-Panchro mm T m COOKE Varotal Mk mm T m ARRI/FUJINON Alura Zoom mm mm T2.6 T m 1.20 m Angénieux Optimo mm Hawk Super Wide Zoom mm T m Hawk Telephoto Zoom mm mm 3.00 m 3.00 m VANTAGE Lightweight Zoom mm 0.28 m COOKE S4 Zoom Lens mm/t2 nikon Zoom mm 1.40 m CENTURY Minolta Zoom mm T m OPTAR Lightweight Zoom mm T3.3 ZEISS LWZ-1 ZEISS VP1 ZEISS VP2 ZEISS VP mm mm mm mm T m 0.58 m 0.78 m 0.79 m ARRI/FUJINON Alura Zoom mm/t2.6 ConverterS / EXTENSIONS Manufacturer Item Optical power VANTAGE Reducer 0.7x CENTURY Extender Extender 1.4x 2x ARRI/FUJINON Alura Zoom mm/t2.6 CENTURY Set of Extension Tubes PL to PL 25 mm / 50 mm ZEISS VP mm ZEISS LWZ mm T2.6 VANTAGE mm HAWK Super Wide Zoom mm T2.5 p68_1115

76 Vantage Lens Table 11/2014 V Macro Lenses Lens Focal Length Aperture Cfd ARRI Macro 16 mm 24 mm 32 mm 40 mm 50 mm 100 mm 200 mm T2.1 T2.1 T2.1 T2.1 T3 T3 T m 0.17 m 0.19 m 0.24 m 0.20 m 0.35 m 0.49 m ARRI Macro 50 mm T3 Zeiss Master Macro 100 mm T m VANTAGE LEITZ Macro 15 mm 19 mm 24 mm 27 mm 35 mm 50 mm 60 mm 90 mm 135 mm 180 mm T m 0.14 m 0.14 m 0.15 m 0.17 m 0.23 m 0.24 m 0.34 m 0.55 m 0.78 m ZEISS Master Macro 100mm T2 ISCO SPECIMAGINE Long Distance Macro System Special Lenses Magnification 1.6:1 10:1 T22 VANTAGE LEITZ Macro 27 mm Lens Focal Length Aperture Cfd Clairmont Swing/Shift System ARRI Shift & Tilt Bellows System 14 mm 18 mm 24 mm 35 mm 50 mm 80 mm 110 mm 18 mm 20 mm 24 mm 45 mm 60 mm 90 mm 110 mm 150 mm T3.8 T3.8 T3.2 T4 T2.4 T3.8 T4 T m 0.18 m 0.18 m 0.19 m 0.28 m 0.34 m 0.58 m 0.15 m 0.18 m 0.22 m 0.37 m 0.36 m 0.45 m 0.62 m 1.04 m Retro-Adapter/CFM-1 Remote Focus Motor VANTAGE Shift & Tilt Mesmerizer +1 Stop VANTAGE LEITZ Macro 50 mm ARRI Tilt Focus 45 mm ARRI Tilt Focus 24 mm 45 mm 90 mm T m 0.28 m 0.5 ARRI Shift & Tilt Bellows System Clairmont Swing/Shift System isco SPECIMAGINE Long Distance Macro System p69_1115

77 Vantage Lens Table 11/2014 VI Special Lenses continued Lens Focal Length Aperture Cfd Lens Babies PL System 30 mm 50 mm 80 mm T2 T2 T m 0.45 m 0.72 m Lens Babies PL System T-REX Superscope mm 8-18 mm mm mm mm T7.1 T7.1 T7.1 T7.1 T m 0.18 m 0.14 m 0.22 m 0.39 m Vantage 2 mm Mini Macro/T22 T-REX Superscope HS Leica Optics No Zoom Function 10 mm 14 mm 18 mm 24 mm 40 mm 80 mm T5.6 T5.6 T5.6 T5.6 T5.6 T m 0.14 m 0.14 m 0.14 m m t-rex HS Superscope Leika Optics/T5.6 Mini-T-REX/Skater Scope PL to PL T5.6 depends on lens Vantage 2 mm Mini Macro 40 mm T CPT Superscope/T5.7 CPT Superscope Underwater Housings 10 mm 15 mm 25 mm 32 mm 40 mm 60 mm T5.7 T5.7 T5.7 T5.7 T5.7 T m 0.07 m 0.08 m m 0.30 m CPT Supersnorkel/T8 CPT Supersnorkel Underwater Housings Motor Drive 6 mm 10 mm 16 mm 20 mm 40 mm 60 mm T8 T8 T8 T8 T8 T m 0.06 m 0.06 m 0.07 m 0.08 m 0.14 m clairmont Image Shaker Mesmerizer for Superscope or Supersnorkel +1 Stop CLAIRMONT Image Shaker Century Series 2000 Super Low Angle Prism Century S Compact Low Angle Prism +¼ Stop +¼ Stop Century Periscope Series 2000 Mk 2 PL to PL Straight Angle Attachment, Pair of 90 Rods for T4 depends on lens Swing/Shift or Lens Motors, Vantage Underwater Housing for Periscope, Underwater Sleeve for Periscope, Mesmerizer for Periscope Century Series 2000 Super Low Angle Prism Nikon for Eyemo (Nikon-Mount) 8 mm 12 mm 15 mm 20 mm 24 mm 28 mm 35 mm 50 mm T2 T2 T2 T m 0.25 m 0.30 m 0.25 m 0.30 m 0.25 m 0.30 m 0.60 m Century Series 2000 Compact Low Angle Prism Zeiss Compact for Eyemo (ARRI-Standard-Mount) 16 mm 24 mm 32 mm 50 mm 85 mm 135 mm T m 0.35 m 0.60 m 2.00 m 1.20 m p70_1115

78 Vantage Lens Table 11/2014 VII Hawk Anamorphics Lens Focal Length Aperture Cfd Hawk V-Plus Super Close Focus Super Close Focus HAWK 2:1 Zoom Lens HAWK 2:1 Zoom Lens Hawk V-Lite Hawk Vintage 74 HAWK 2:1 Zoom Lens HAWK 2:1 Zoom Lens 35 mm 40 mm 50 mm 65 mm 75 mm 85 mm 100 mm 120 mm 135 mm 150 mm mm mm 28 mm 35 mm 45 mm 55 mm 65 mm 80 mm 110 mm 140 mm 28 mm 35 mm 45 mm 55 mm 65 mm 80 mm 110 mm 140 mm mm mm T3.5 T3 T3 T3 T3.5 T2.3 T2.3 T2.3 T2.3 T2.3 T2.3 T3.1 T3.7 T2.9 T m 0.75 m 0.60 m 0.40 m 0.60 m 0.60 m 1.00m 0.40 m 0.75 m 0.80 m 0.80 m 0.75 m Hawk V-Plus 35 mm Hawk V-Lite 55 mm Hawk Vintage mm T2.3 Hawk V-Lite16 28 mm T1.5 Hawk V-Lite16 14 mm 18 mm 24 mm 28 mm 35 mm T1.5 T1.5 T1.5 T1.5 T m Hawk V-Series 25 mm 30 mm 35 mm 40 mm 50 mm 60 mm 75 mm 100 mm 0.60 m 0.80 m 0.75 m 0.75 m 0.60 m 0.60 m 0.60 m Hawk V-Series 50 mm Hawk V-Plus Zoom mm Hawk V-Plus Zoom mm p71_1115

79 Vantage Lens Table 11/2014 VIII Hawk Anamorphics continued Lens Focal Length Aperture Cfd Hawk V-Series 135 mm 180 mm 250 mm T3 T3 T m 2.00 m Hawk V-Series 5x46 Zoom mm/t4 1.4x Extender for 250mm HAWK 5:1 Zoom Lens HAWK 3:1 Zoom Lens gives 350 mm mm mm Hawk C-Series 40 mm 50 mm 60 mm 75 mm 100 mm T4.2 T4 T4 T m 0.40 m 3.00 m Hawk C-Series 40 mm HAWK 3:1 Zoom Lens mm T4 Other Anamorphics Hawk C-Series 3x55 Zoom mm/t4 Lens Focal Length Aperture Cfd T-REX Superscope Hawk Anamorphic Hawk Swing/Shift System 20 mm 28 mm 35 mm 50 mm 80 mm 150 mm 100 mm 160 mm 220 mm T8 T8 T8 T8 T8 T8 T5.6 T4 T m 0.14 m 0.14 m 0.14 m m 0.28 m 0.34 m 0.58 m T-REX Superscope/T8 Hawk Anamorphic Hawk Rear Attachment Hawk Rear Attachment Optimo ARRI Slant Focus 90 mm 180 mm +1 Stop +1 Stop T4 T m 0.5 Hawk Rear Attachment Angénieux Hawk Optimo Angénieux Optimo mm T m mm mm T4 T m 0.60 m ARRI Slant Focus 90 mm/t4 Hawk Anamorphic Angénieux Hawk Anamorphic mm mm T4.2 T m 1.70 m Angénieux mm/t4 Optimo Hawk Anamorphic Angénieux mm T4 Optimo p72_1115

80 Vantage Lens Table 11/2014 IX Anamorphic lenses continued Lens Focal Length Aperture Cfd Canon Hawk Anamorphic 600 mm 800 mm 1000 mm 1600 mm T4 T4 T6.3 T m 3.60 m 5.00 m m Nikon Hawk Anamorphic 600 mm/ Century Hawk Anamorphic Nikon Hawk Anamorphic 2000 mm T m 600 mm 600 mm 800 mm 1200 mm High Speed T4 T4 T m 3.60 m 3.60 m 6.50 m Hawk V-Lite 1.3x Squeeze 80 mm/ Hawk V-Lite 1.3x Squeeze 20 mm 24 mm 28 mm 35 mm 45 mm 55 mm 65 mm 80 mm 110 mm 140 mm T3 T m 0.60 m 0.80 m Hawk V-Plus 1.3x Squeeze Zoom Lenses mm/ Hawk V-Plus 1.3x Squeeze 2:1 Zoom Lenses mm mm mm 0.60 m 0.75 m mm/ Hawk V-Lite16 14 mm 18 mm 24 mm 28 mm 35 mm T1.5 T1.5 T1.5 T1.5 T m mm/ Angénieux Hawk 1.3x Squeeze Optimo Angénieux Hawk 1.3x Squeeze mm T m mm mm T3.4 T m 1.70 m Hawk V-Lite16 1.3x Squeeze 24 mm/t1.5 Canon Hawk 1.3x Squeeze 400 mm 500 mm 1000 mm T3.2 T3.2 T m 3.60 m m century Hawk 1.3x Squeeze Nikon Hawk 1.3x Squeeze 1300 mm T m 260 mm 400 mm 400 mm 500 mm 800 mm T2.3 T2.3 High Speed T3.2 T3.2 T m 3.90 m 3.60 m 3.60 m 6.50 m Canon Hawk Anamorphic 1.3x Squeeze 400 mm/t3.2 Hawk Clairmont Swing/Shift System T-REX Superscope Hawk Anamorphic 65 mm 100 mm 150 mm 14 mm 19 mm 24 mm 35 mm 55 mm 100 mm T4.5 T3.2 T2.6 T6.2 T6.2 T6.2 T6.2 T6.2 T m 0.34 m 0.58 m 0.14 m 0.14 m 0.14 m 0.14 m m NIkon Hawk Anamorphic 1.3x Squeeze 500 mm/t3.2 p73_1115

81 Vantage Lens Table 11/2014 X Vintage Lenses Lens Focal Length Aperture Cfd COOKE Speed Panchro 18 mm 25 mm 32 mm 40 mm 50 mm 75 mm 100 mm canon K-35 Macro Zoom Macro Zoom Anamorphic BAUSCH & LOMB MOY Super Baltar 18 mm 24 mm 35 mm 50 mm 85 mm mm mm 25 mm 35 mm 50 mm 75 mm 100 mm T2.3 T2.3 T2.3 T2.3 T2.6 T1.5 T1.5 T1.3 T1.3 T1.3 T4 T2.3 T2.3 T2.3 T2.3 T m 0.20 m 0.20 m m 0.45 m 2.17 m 0.30 m 0.30 m 0.30 m 0.45 m 0.90 m 0.35 m 0.35 m 0.20 m 0.20 m 0.20 m 0.29 m 0.38 m COOKE Speed Panchro 32 mm T2.3 Canon K mm T1.5 CANON mm/ Macro Zoom KINOPTIK Paris 18 mm 25 mm 35 mm 40 mm 50 mm 75 mm 100 mm 150 mm T2.5 T2.5 T2.4 T2.4 T2.5 T2.5 T m 0.20 m 0.20 m 0.20 m 0.25 m 0.30 m 0.30 m 0.40 m BAUSCH & LOMB MOY Super Baltar 35 mm T2.3 KOWA Cine Prominar 20 mm 25 mm 32 mm 40 mm 50 mm 75 mm 100 mm T2.6 T2.3 T2.5 T2.3 T2.3 T2.3 T m 0.30 m 0.46 m 0.76 m 0.76 m 0.92 m 1.50 m CINAR uncoated 14 mm T m ZEISS Superspeeds uncoated 18 mm 25 mm 35 mm 50 mm 85 mm T1.3 +¼ Stop T1.3 +¼ Stop T1.3 +¼ Stop T1.3 +¼ Stop T1.3 +¼ Stop 0.24 m 0.24 m 0.33 m 0.67 m 0.87 m Kinoptik 50 mm/t2.5 Kowa Cine Prominar 40 mm T2.3 Angénieux uncoated Zooms mm mm T2.9 +¼ Stop T3.9 +¼ Stop 1.68 m Kowa Anamorphic 50 mm T2.3 KOWA Anamorphic 40 mm 50 mm 75 mm 100 mm T2.3 T2.3 T m p74_1115

82 Vantage Lens Table 11/2014 XI Vintage Lenses continued Lens Focal Length Aperture Cfd Arri Ultrascope Anamorphic (for special effects) 40 mm 50 mm 85 mm 135 mm T2 T2 T4 T m 2.00 m 2.00 m ARRI Ultrascope 40 mm T2 Lomo-Scope Anamorphic (for special effects) BNCR-Mount 35 mm 50 mm 80 mm 150 mm T2.9 T2.5 T2.3 T m Diopters & Filters Manufacturer SCHNEIDER Diopter Item Diopters unmounted Split Diopters VANTAGE Slide Diopter 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 More than 5000 Filters & Diopters in stock VANTAGE Spot Diopter VANTAGE Glare Effect VANTAGE BLUE-VISION VANTAGE Pola Frame XL VANTAGE Strip Diopter VANTAGE Slender Diopter p75_1115

83 un der wa ter /unʹdǝr wôʹtǝr, -wotʹǝr/ adj. 1 existing or occurring under water. 2 designed to be used under water. ~ equipment special waterproof camera housings and lights for underwater filming. Manufactured by Hydroflex or Scubacam, supplied by Vantage.

84 vantage Underwater Equipment Nauticam Underwater Housing Depth Rated Vantage Periscope Underwater Housing Depth Rated For Arri Alexa Mini 5.5 TVLogic HD Monitor 4 Batteries 14V/?Ah 80 m Century Periscope Series 2000 Mark2 3 Port Extensions, 2 Focus/Iris Drives Hydroflex Accessories 0.5 m Hydroflex Underwater Housings For Arri Alexa Aquacam Preston Lens Control + Marine Hand Unit 4.3 Hydroflex HD UW Monitor 4 Batteries 28V/20Ah For phantom Flex 4K Aquacam Preston Lens Control + Marine Hand Unit 4.3 Hydroflex HD UW Monitor 4 Batteries 28V/20Ah Depth Rated 30 m 30 m Hydroflex Spray Deflector SL Cine UW Head UW Tripod UW Video Cable 15m or 30m Hydroflex UW Communication System Light Meters Spectra Professional IV A + Underwater Housing Minolta Auto Meter IV F + Underwater Housing Minolta Spotmeter F + Underwater Housing Sekonic Marine UW Light Meter For red Epic/Weapon Aquacam Preston Lens Control + Marine Hand Unit 4.3 Hydroflex HD UW Monitor 4 Batteries 28V/20Ah Epic/Weapon Deep Water 4 UW Batteries 12V/2.5Ah 6 Hydroflex UW Monitor + 2 Cables Hydrohead Underwater Remote Head 2-Axis UW Remote Head Power Pod Control Module Power Pod Gear Boxes Scubacam Splash Housings Arri Alexa Mini 4 Scubacam UW HD Monitor + 2 Cables Arri Alexa 4 Scubacam UW HD Monitor + 2 Cables 30 m 50 m Depth Rated 50 m all Batteries incl. Chargers Depth Rated 2 m 2 m Hydroflex Lights HMI Hydropar 1200 W System 3 Lenses, Barn Door, Cable 15 m, Electronic Ballast, Spud Plate Extension Cable for HydroPar HMI 1200 W 15 m TUNGSTEN Hydropar 1000 W System Barn Door, Cable 15 m, Spud Plate TUNGSTEN Hydropar 650 W System Barn Door, Cable 15 m, Spud Plate Extension Cable for HydroPar 650/1000 W 15 m Fluorescent Hydroflow Tube 60 cm Cable 30 m, Electronic Ballast, 2 Weight Cuffs Fluorescent Hydroflow Tube 120 cm Cable 30 m, Electronic Ballast, Weight Cuffs Split Mask for Hydroflow Depth Rated 30 m 30 m 30 m Red Epic 4 Scubacam UW Monitor + 2 Cables Red Weapon 4 Scubacam UW Monitor + 2 Cables 2 m 2 m HYDROFLEX Lighting Accessories Lead Shot Bag Underwater Flag p76_1115

85 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. Hydroflex Hydrohead 7.9 (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 2x 24 Volts Battery Power (743 mm) RAC Further detailed information on our website (underwater section) p77_1115

86 Alexa Mini Housing Supports a Wide Range of Lenses Quick and Easy to Set Up, Swap Lenses, and Use Outstanding Wide-Angle Image Performance 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 leftright balance with easily sourced dive weights. A number of on camera monitoring solutions are available. Nauticam Camera Dimensions l x h x w Weight in air Weight in saltwater Operating depth Viewfinder Lens port Lenses Underwater Housing Alexa Mini 49 x 46 x 41 cm 38.5 kg (fully equipped) 1.4 kg 80 m 5.5 underwater monitor dome Zeiss UP Series Arri UWZ mm VantageOne T1 Cooke S4 Series Hawk V-Lite Hawk C-Series Further detailed information on our website (underwater section) We also supply underwater housings for 35 mm and 16 mm film cameras. Contact us for details. p78_1115

87 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 Remote licence key installed. Preston Marine Fl&Z hand unit Hydroflex 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 Operating depth Viewing handheld 1.2 kg (with slide in diving weight) remote -1.3 kg handheld 1.1 kg (with slide in diving weight) remote -1.2 kg handheld 1.2 kg (with slide in diving weight) remote -1.3 kg Further detailed information on our website (underwater section) 30 m 4.3 HD underwater monitor Lens port flat and dome, extension rings accommodate the different lenses Lenses Hawk V-Lite, Hawk C-Series, MiniHawk, Vantage One T1, Arri Master Primes, Vantage Zoom mm, Century Zoom mm, Zeiss UP Series, Cooke S4 Series, Canon Zoom Lenses p79_1115

88 Deep Water camera Housing Professional aluminium underwater housing. Made in USA. The housing is straight forward, easy to use, and designed to fit a stock Red Dragon or Red Weapon camera with Hawk, Zeiss or Cooke lenses. Various spherical and anamorphic lenses can be utilized in conjunction with interchangeable dome or flat ports 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. Multiple 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. Hydroflex Camera Dimensions l x h x w Weight in air Weight in saltwater Operating depth Viewfinder Lens port Lenses Deep Water Red Weapon/Red Epic 49 x 46 x 41 cm 38.5 kg (fully equipped) 1.4 kg 50 m 6 underwater monitor dome & flat Hawk V-Lite Hawk C-Series Vantage One Zeiss UP Series Zeiss Macros Cooke S4 Series Further detailed information on our website (underwater section) We also supply underwater housings for 35 mm and 16 mm film cameras. Contact us for details. p80_1115

89 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 Housing Zippers Black polyurethane coated onto a high tenacity polyamide webbing, and heat sealed to clear viewing windows. 1 x 68 cm 1 x 67 cm 1 x 30 cm Zippers conform to the M.o.D. Interim Defence Standard /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. Dump Valve: Leak alarm Maximum depth 6mm. Optical flat, coated with a non-stick polymer. 6mm. Optical flat, coated with a non-stick polymer. 5mm. Optical flat, coated with a non-stick polymer. 163 x 133 mm 150 x 115 mm 160 x 120 mm Apex low profile automatic 9 volt tone generator max. output 95db. NO MORE THAN 4 METRES Lens information Maximum wide angle is 14 mm; external follow focus fitted as standard. Maximum wide angle is 14 mm. Maximum wide angle is 12 mm. Scubacam air-jet lens cleaning system Start/Stop High pressure lens cleaning system. A flexible hose is attached to an air tank pressurized to 200 bar. When the trigger is depressed, air shoots out of the nozzles system permanently fixed to the front of the housing, dispersing any water droplets from the front port. A 9 m flexible hose is included. Accessible through on/off pistol grip in side of housing. Further detailed information on our website (underwater section) We also supply underwater housings for 35mm and 16mm film cameras. Contact us for details. p81_1115

90 HydroPar lighting systems HydroPar lighting systems are state-of-the-art underwater lights specifically designed for feature and commercial film production. Modular components, underwater mateable connectors and integrated ground fault sensors (GFCI s) for accident prevention make these lighting systems safe, flexible and easy to set up. Each lamp is compact and lightweight and can be configured to a multitude of shooting situations. Barn doors are readily added by simply removing the lamp head retainer ring and inserting the accessory. Filters, gels and scrims may also be used. A 5/8 spud assures compatibility with standard grip and lighting equipment. HydroPar 1200 W HMI 1000 W Tungsten 650 W Tungsten Specification Built for easy field service and continuous operation below water. Changing fresnels to adjust the light s beam pattern is fast and simple. The ingenious design allows the lamp head to rotate in the yoke assembly. The HydroFlex custom underwater mateable connectors incorporate an extended ground pin for Mate First/ Break Last grounding of the lamp. Designed primarily as a simple, lightweight multipurpose underwater light source, suitable for key or fill light from a fixed position, or handheld to follow the action. This lamp utilizes our custom underwater mateable connector incorporating the Mate First/Break Last grounding circuit. Simple, compact underwater light source, suitable for key or fill light from a fixed position, or handheld to follow the action. High output is achieved by using interchangeable Par 36 series quartz globes. It utilizes our custom underwater mateable connector incorporating the Mate First/Break Last grounding circuit. Bulb Bb1200 PAR 64 MK II PAR 64 PAR 36 Voltage 230 V Mains power aligns to 120 VAC security transformer 230 V Mains power aligns to 120 VAC security transformer 230 V Mains power aligns to the 120 VAC security transformer Color Temperature 5600 K 3200 K 3200 K Operating Depth 30 meters 30 meters 30 meters Weight in Air/Saltwater 13 kg/0.9 kg 6.4 kg/1.8 kg 2.4 kg/0.5 kg Bulb Options BEAM BEAM ANGLE CANDLE POWER ANSI BEAM BEAM ANGLE CANDLE POWER ANSI BEAM BEAM ANGLE CANDLE POWER NSP 8 x FFS WFL 48 x DWE MFL 30 x MFL 10 x WFL 19 x Hydroflo tm 120 cm 60 cm Specification Voltage Color Temperature Utilizing industry-standard KINO FLO flicker-free ballasts, for any wet or underwater application to a depth of 30 m. To be used individually, handheld or hard mounted with our simple-to-attach weight cuffs. Available with UV Super Blue and KINO FLO 3200 and 5500 tubes. Supplied with underwater mateable connectors. 230 V Mains power aligns to120 VAC security transformer 3200 K and 5600 K Weight in Air/Saltwater 1.5 kg/0.15 kg 1.0 kg/0.1 kg Watt 75 W 45 W Further detailed information on our website (underwater section) 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. p82_1115

91 Periscope Underwater Housing Perfect for Underwater Work The Vantage Periscope Underwater Housing makes 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 of lenses, including Cooke S-4s and Vantage Leitz Macros. An extension bracket can be attached for motor-driven focus. Instructions for Use 01 Slide the camera forward on to the bridge plate, and align the front of the camera with the front of the bridge plate. 02 Insert the periscope support rods into the camera wedge plate in a way that they extend between 38/39 cm, according to the marking. 03 Attach the periscope onto the camera, and remove the PL adapter of the periscope. 04 Slide the iris and 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 housing. 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, undamaged, 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 protective covers are in place at all times when they are not in use cm 04 p83_1115