Vantage Catalog 2015

van-tage 1
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3 ~ film
hawk 1
~ eyed
2
psu 3 1
~ 2
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catalog 1
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For you its an art.

For us its a science.
About Vantage Film:
Vantage designs and manufactures lenses and digital tools to advance the art of filmmaking with
cutting-edge equipment and technology. The company is headquartered in Weiden, Bavaria, and
maintains rental facilities in Berlin, Paris and Prague.
Together the sites provide customers all over the world with Vantages unique Hawk Anamorphic Lenses
and PSU-3 HD digital video assist systems. Also available are lenses from Angnieux, 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 Lucass
Star Wars Episode I.
Vantage Film presents
peter mrtin. If I feel it could be better, I make sure

much the same way, the leading characters well make it better. Peter Mrtins quality ethos and fierce
dedication are driving factors behind Vantages success.
of Vantage Film have their own tales to tell. He expects great things, both from his team and from
Come and meet Peter Mrtin and Wolfgang technology, and is personally committed to offering his
Bumler, the company founders, and the clients the absolute best solutions.
directors that help them make Vantage Film one
of the premier rental houses and producers of and has been fascinated by movies ever since his grandfather
cine lenses and tools in the industry. They are
Andreas Teichner, Jindrich Cipera, Alexander
frustrated with malfunctioning or poorly organized equipment.
He knew he could do better. Now, every product and every
Their backgrounds vary, but they all share a service that Vantage Film offers is extensively analyzed to
Clients can be 100 percent sure

that they are receiving the most
advanced lenses (anamorphic or
spherical), cameras, or video assist
systems when they choose Vantage.
If cinematographers have their own
ideas, Mrtin is more than ready to
enthusiast thrives on challenges, We

never say: so far, so good. There is
always something more we can do.
Peter Mrtin
Founder and Executive Director
Wolfgang Bumler. There was a

time, says Wolfgang Bumler, when
I was torn between shooting films and
designing the technology to shoot
them. In the meantime, the co-founder
of Vantage Film has created a way to
enjoy the best of both worlds.
Wolfgang Bumler and peter mrtin
At Vantage Film, he is an Executive

Director and is responsible for the
manufacturing of all the award-winning Hawk Anamorphic
Cinec award 2014
Devising and producing a product that nobody else offers is
what makes Wolfgang Bumlers day that and assembling
Cinec award 2008
a product which depends on the single twist of a screw for
perfection.
Cinec award 2004
In order to keep the feel of the set fresh in his mind, he now
Cinec award: and then takes a few days off to work with a second or even
Cinec award 2002
Cinec award 2000

Wolfgang Bumler
Founder and Executive Director
p01_1115
contacts
VantaGE film HQ
andreas teichner.
Andreas Teichner
Senior Director, Operations, Rentals
& Key Accounts
Tel +49 961 267 95

mobile +49 160 718 0446
alexander schwarz.
Trespass,
247 mobile +49 151 528 822 81
Jim Bouchie.
Blade
Runner.
mobile +49 151 6246 0033

VantaGE Paris
alexander Bscheidl
Director, Paris
247 mobile + 33 6 78 22 14 70
VantaGE PraGuE
Jindrich cipera.
Director, Prague
247 mobile +420 602 561561
VantaGE BErlin
marco susic.
Marco Susic
mobile +49 151 5683 4642

Vantage Cameras Vantage aCCessories
16 and all 35 mm cameras are available in

anamorphic setup.
Vantage Lenses

Vantage grip

hawk 1
~ eyed
2
anamorphics
Hawk ~
WHY WE MAKE HAWKS THE WAY WE DO
If you want to design new lenses, you have to consider the characteristics our lenses, and all the parts come from Germany most from within
of the format for which it will be used. You have to separate problems 100 miles. Iris and focus rings are all in the same position. We have
from what you want to protect or enhance. For example, if you are internal focusing (cams and cam followers). There are basically two front
renovating an old church, you probably dont want to do it too perfectly. diameters, one for the wide lenses in the V-Lite series and one for the
Maybe you see an old stone wall, and you say, Its not perfect but of medium and long ones. You can easily attach clip-on matte boxes, and
course, thats the beauty of it. We are very deliberate about where there even if you over-tighten the matte box, it will still not bind the internal
elements. You can interchange the focus scales rapidly, easily, and
(at the top, bottom, and corners), matching lens sets, and so on. There is precisely. The connection of the PL mount to the lens is unique in the
always room to improve, but, just as architects recognize what to keep Hawks. No screws directly penetrate the lens body. The PL mount is
and what to preserve when working on an older structure, we design attached to an L-shaped stainless steel bracket that is held by a ring to
and craft our lenses with the same understanding; the distinct character the lens, resulting in the sturdiest construction in the industry.
of the anamorphic format must be preserved. The Hawk design is the only design that has parallax-free witness
We design and build Hawk Anamorphic Lenses. Most lenses today marks on both sides. The focus ring and the barrel with the witness mark
are well made. Following the same path of only making sharper and are on the same plane. We use a unique paint on the lens, which has
become a powerful, new tool for a cinematographer. Of course, pearl blasting and anodizing. We then apply high-contrast, highly-visible
sharpness is good to have, and Hawk lenses yellow paint to the engraved lens markings.
The serial number is positioned prominently in
but that is only part of the picture.
When we started in the 90s, more than 40 for delivery notes. Plaques mounted on both
years had already gone into development of sides of each lens unmistakably display the
anamorphic lenses, but aspects of these lenses
were still far from perfect. Lenses did not focus these details are designed to improve an
closely enough; they were too big, and you assistants ability to work quickly
could see focus falling off quite easily. We and effectively on or off the set.
wanted to improve those things. Our custom-designed lens cases
An anamorphic lens, with its squeezing hold both lenses and accessories.
These cases are very small and are
We try to keep that in our designs. When we designed for locations, studios, and
see elliptical bokehs or slightly curved geometry, camera trucks, and the cases use minimal
we dont regard them as defects that have to be room on an assistants cart. These cases then
eliminated. On the contrary, we understand that
those are part of the language of anamorphic. If Camera crews want small cases, but shipping
you photograph with spherical lenses, the image requires more foam, more protection, hence
larger cases. A&J Cases in Los Angeles
Anamorphic is like a roller coaster. When produces all our cases, and so far, they have
built over 3500 cases for us.
not be obsessing over line pairs in the very far corners A rental house is not a laboratory. If you have to
of the screen. Hopefully, you are immersed in the story, open up a lens, it should not be sealed in a way
dazzled by the widescreen cinematography, and that you would have to send it back to the factory
embraced by the image. We have to recognize and for repair just to maintain tight tolerances. A lens
accept that audiences love the many famous anamorphic designer should consider parameters appropriate
to our business and avoid making overly complex
classics, and those qualities are closely connected to lens design ensures that maintenance is easy for rental
characteristics, such as the curvature or a little bit fall-off houses even with limited possibilities.
In addition to primes, we make front anamorphic
designers try to improve one of these lenses, they have to zooms. Rear anamorphic zooms (and primes) do not
be careful not to improve everything. Otherwise, the distinct have oval bokehs or the classic look. Because the
cylinders are at the rear, they stretch the image vertically
The anamorphic look emphasizes the in-focus part of the in a process similar to using a 1.4x or 2x extender
image because theres a larger separation from the out-of- but only on one axis. The image is already made by the
focus, so the in-focus portion automatically looks sharper,
crisper, and more appealing. The eye likes to be cued by because stretching takes place after the lens. You cannot
what is in-focus and whats not. If its Super 35 and shot in
spherical, the eye may start to search for the area of maximum Hawks are all the same family of lenses. They are made
sharpness, sometimes unsuccessfully. Its not always a pleasant by one company and one group of designers us. Thats
experience. But in anamorphic, the in-focus area is easy to see. The second why they match so well. Camera crews do not have to hand pick our
characteristic is how the out-of-focus areas look. The bokeh is completely lenses so that the lenses match. Problems in matching occur with sensitive
different with an anamorphic lens. The out-of-focus highlights are oval and designs and when lenses suffer from wear and tear, but the Hawk design
are created by the curvatures of the anamorphic lens element. is highly robust, so every 50mm lens will be the same. This is also true
A spherical lens photographs everything as it is and tries to reproduce for every 65 mm lens and so on.
it as faithfully as possible. The anamorphic lens interprets reality. It tells We consider cinema lenses as tools for a rental business. Lenses are
us how the reality might look, but its not recording the reality. Why is constantly shipped forth and back, and they have to be serviced by rental
this format loved? Because of the organic look not because things houses. We took that into consideration and developed a robust, not overly-
have been corrected the way we expect them to be on spherical lenses. designed, straight-forward, mechanical concept for the Hawks. Once a lens
When we make the Hawks, we improve certain parameters which we is manufactured and assembled, it will maintain its quality over its lifespan.
feel are lacking, but we do not try to improve out some of the original We did not want our Hawks to look good on paper but give us trouble
characteristics like curvature. Most of our lenses focus down to two feet, in manufacturing. We also did not want our lenses to run into problems
remarkably close for anamorphics, and we have several lenses where while on productions because they could not be serviced easily. Preventing
you can focus to the front glass element, yet all our lenses are designed downtime and delay on the set while providing cinematographers with
to preserve that unmistakable anamorphic look. exciting anamorphic tools is our goal. We make Hawks to improve on
Hawk is a family of lenses. Everything is assembled in our facility in the tradition of anamorphic lenses and provide cinematographers with the
Weiden, about 1.5 hours north of Munich. We produce many parts for tools that help them do what they do best create art.
p05_1115
Made in Germany by Vantage Film GmbH

True AnAmorphic
Cinematic Quality for both
Film and Digital
Anamorphic lens systems are a favourite with
of reasons: the large negative size of the anamorphic
longer focal lengths; the elliptical blur which arises in

the out of focus parts or even the barrel distortion of
difference between spherical lenses and anamorphic lens capability was

systems is often forgotten: the way in which images are improved and sets
a new standard for
in one system: a longer focal length for the vertical part
of the image and a shorter one for the horizontal part (2x
focus mechanism or the 15 blade iris apertures

this character is preserved over all generations: It is were developed for the sole purpose of pushing the
Vantage continuously develops new products for

anamorphic shooting and only recently expanded its
production capacity to meet the ongoing heavy demand for

a much larger sensor area (or a larger negative area) and
Vantage Film has focused its efforts on developing products

which substantially advance anamorphic technology:

Lenses were developed to be fully

p06_1115

HaWk V-PLuS
Hawk V-Plus anamorphics build on the

successes of the well-established Hawk
V-Series. The following aspects make this
series of lenses stand out:
Masking
Less Weight
Focus Scale
Improved Optics

HAWK FRONT ANAMORPHIC ZOOMS
combine the unique, cinematic visual characteristics of
anamorphic prime lenses with the convenience and variable
focal length of zoom lenses.
The anamorphic 2.40:1 format is widely considered to be
in part because they were designed and built with the

anamorphic element at the back end, behind the spherical
elements. This adaptation was necessary because of the
meant that the anamorphic elements could not wield their
squeezed to the proper standard, but it lacked the Scope

traits cinematographers love to use in visual storytelling.
Cinematographers should have anamorphic zoom lenses

that deliver the same performance and look as anamorphic
primes. Unlike existing anamorphic zooms, the Hawk
Front Anamorphic Zoom Lenses place the anamorphic The Hawk Front Anamorphic Zoom Lenses are built to the exacting,
robust standards of all Hawk lenses.
element in front of the spherical elements. The resulting
image displays all the anamorphic blur, shallow depth of
curvature and barrel distortion, and distinct planes of focus

cinematographers expect from anamorphic primes. HAWK V-Plus 45-90 mm/T2.8
and 80-180 mm/T2.8
These lenses intercut seamlessly with
The challenge demanded a smaller spherical zoom lens. the entire line of Hawk anamorphic
primes. Vantage has brought their
uncompromising technical standards,
anamorphic zoom was dramatically decreasing the size of unparalleled design expertise,
and precision manufacturing to
this lens. The companys policy of controlling and creating bear on this addition to the Hawk
family of lenses.
dividends once again. The resulting front anamorphic brings
a number of advantages. Traditional rear anamorphic
zoom arrangements sacrifice one stop; whereas, the
Hawk design is neutral in terms of light loss. Therefore,
all Hawk Front Anamorphic Zoom Lenses are T 2.8 quite
fast for an anamorphic zoom. The lenses also deliver
excellent close focus ability, giving cinematographers
tool with all the anamorphic qualities they would expect
Focal CfD Angle of View

Stop
Length m ft horizontal vertical
45-90 mm T2.8 - T16 0.75 26 53.3-29.2 22.7-12.4
80-180 mm T2.8 - T16 1 33 32.5-14.7 13.8- 6.3

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 / t2.2
Hawk V-Lite 110 mm / t3
High performance optics Although the current for adjustments during camera prep. The rental house
Hawk lenses already perform exceptionally well, further can easily re-calibrate the distance scales without
improvements have been achieved. The center of efforts disassembling the lens. The gear ring has been reduced
in diameter in order to receive a more direct transmission
contrast over the entire image. The manufacturing process of the follow focus and is therefore better protected from
of the optical components has been further optimized in damage. The position of the follow focus has also been
several aspects. The new lens set is fully matched to all moved back to the camera in order to optimize focusing.
other Hawk Anamorphics.
new labeling concept A new labeling concept
analog & Digital Vantage uses telecentric designs for makes it easier to distinguish the different focal lengths.
Every lens is marked clearly with the corresponding focal
and digital cameras. length on both sides. Also the serial numbers have been
constant t-stop The engraved T-Stops on the Hawk

no electronics The new Hawk V-Lite Anamorphics
Contrary to other lenses, there is no light loss while have no electronic components at all and their mechanical
focusing. The maximum light transmission is maintained construction is extremely reliable.
throughout the whole focusing range.
Less weight The weight of every lens has been

reduced up to 20%.
new pL-mount The PL-Mount

was redesigned in order to avoid
camera.
new Focus scale The

new designed focus scale is
ergonomically optimized with an
equal parallax-free reading quality
on both sides of the lens. The ease
of reading has been improved
using new engraving techniques. A
high precision electromechanical/
optical projection system has
been developed and is used for
calibrating all focus scales. V-Lite
distance scales are optimized
p09_1115

V-Plus/V-Lite
Hawk Anamorphic - Technical Data
Focal CfD Angle of View Weight Front Overall Min. Filter

Lens Stop
Length m ft horizontal vertical kg Ibs Diameter Length Size
Hawk V-Plus Anamorphics

V-Plus 35 35 mm T 2.2 - T 16 0.75 26 65 27.7 5.3 11.7 156 mm 187 mm 6.6x6.6
V-Plus 40 40 mm T 2.2 - T 16 0.75 26 57 24.3 5.5 12.1 156 mm 202 mm 6.6x6.6
V-Plus 50 50 mm T 2.2 - T 16 0.6 2 49.6 21.1 3.7 8.1 125 mm 202 mm 4x5.65
V-Plus 65 65 mm T 3 - T 22 0.35 12 39.9 16.7 4.3 9.5 125 mm 252 mm 40.5 mm
V-Plus 75 75 mm T 2.2 - T 16 0.6 2 34.7 14.8 4.3 9.5 125 mm 238 mm 4x5.65
V-Plus 85 85 mm T 2.2 - T 16 0.6 2 31.4 13.4 4.4 9.7 125 mm 250 mm 4x5.65
V-Plus 100 100 mm T 2.2 - T 16 1 33 26.5 11.3 5.6 12.3 125 mm 325 mm 4x5.65
V-Plus 120 120 mm T 3.5 - T 32 0.42 15 21.2 9 5.6 12.3 125 mm 333 mm 40.5 mm
V-Plus 135 135 mm T 3 - T 22 1 33 19.8 8.4 5.4 11.9 125 mm 325 mm 4x5.65
V-Plus 150 150 mm T 3 - T 22 1 33 17.5 7.5 5.3 11.7 125 mm 323 mm 4x5.65
V-Plus 2:1 45-90 mm T 2.8 - T 16 0.75 26 53.3-29.2 22.7-12.4 5.3 11.7 125 mm 280 mm 4x5.65
V-Plus 2:1 80-180 mm T 2.8 - T 16 1 33 32.5-14.7 13.8-6.3 7.6 16.8 125 mm 430 mm 4x5.65
Hawk V-Lite Anamorphics

V-Lite 28 28 mm T 2.2 - T 16 0.8 27 82.3 35 2.1 4.6 120 mm 137 mm 4x5.65
V-Lite 35 35 mm T 2.2 - T 16 1 33 65.4 27.8 2.9 6.4 120 mm 170 mm 4x5.65
V-Lite 45 45 mm T 2.2 - T 16 1 33 53.3 22.7 1.9 4.2 104 mm 154 mm 4x5.65
V-Lite 55 55 mm T 2.2 - T 16 1 33 47.10 20 2 4.4 104 mm 156 mm 4x5.65
V-Lite 65 65 mm T 2.2 - T 16 1 33 39.7 16.6 2 4.4 104 mm 160 mm 4x5.65
V-Lite 80 80 mm T 2.2 - T 16 1 33 32.5 13.8 2.3 5 104 mm 185 mm 4x5.65
V-Lite 110 110 mm T 3 - T 16 1 33 23.5 10 2.6 5.7 104 mm 200 mm 4x5.65
V-Lite 140 140 mm T 3.5 - T 22 1 33 18.5 7.9 2.7 5.9 104 mm 220 mm 4x5.65
Hawk Anamorphic - recommended Panning Speeds

Example: 60
Focal Length of Hawk Anamorphic Lens
28 mm 35 - 45 mm 50 - 65 mm 75 - 80 mm 85 - 100 mm 110 - 135 mm 140-150 mm

30 2 3 5 6 9 12 18
Panning Speed in
Panning Angle
60 4 6 10 12 18 24 36
seconds
90 6 9 15 18 27 36 54
120 8 12 20 24 36 48 72
150 10 15 25 30 45 60 90
180 12 18 30 36 54 72 108
p10_1115
Hawk, Hawk Anamorphic, are registered trade-marks of VANTAGE FILM GmbH, Germany, www.hawkanamorphic.com
V-Series/C-Series
CfD Angle of View Weight Front Overall Min. Filter

Lens Focal Length Stop
m ft horizontal vertical kg Ibs Diameter Length Size
Hawk V-Series Anamorphics

V 25 25 mm T 2.2 - T 16 1 36 92.4 39.4 2.8 6.2 142 mm 135 mm 6.6x6.6
V-30 30 mm T 2.2 - T 16 0.8 28 77.1 32.8 5.2 11.5 156 mm 188 mm 6.6x6.6
V 35 35 mm T 2.2 - T 16 0.75 26 65 27.7 5.6 12.3 156 mm 187 mm 6.6x6.6
V 40 40 mm T 2.2 - T 16 0.75 26 57 24.3 6.2 13.6 156 mm 202 mm 6.6x6.6
V 50 50 mm T 2.2 - T 16 0.6 2 49.6 21.1 3.7 8.1 125 mm 202 mm 4x5.65
V 60 60 mm T 2.2 - T 16 0.6 2 42.5 18.1 4 8.8 125 mm 213 mm 4x5.65
V 75 75 mm T 2.2 - T 16 0.6 2 34.7 14.8 4.6 10.1 125 mm 238 mm 4x5.65
V 100 100 mm T 2.2 - T 16 1 36 26.5 11.3 6.6 14.5 125 mm 325 mm 4x5.65
V 135 135 mm T 3 - T 22 1 36 19.8 8.4 6.3 13.8 125 mm 325 mm 4x5.65
V 180 180 mm T 3 - T 22 2 66 14.7 6.3 7.5 16.5 142 mm 407 mm 4x5.65
V 250 250 mm T 3 - T 22 2 66 11.8 4.7 7.8 17.2 142 mm 461 mm 4x5.65
V 350 350 mm T 4.2 - T 32 2 66 7.5 3 8.4 18.5 142 mm 486 mm 4x5.65
V 46 - 230 46 - 230 mm T 4 - T 32 0.4 16 57.2 - 12 24.3 - 5.1 7.4 16.3 150 mm 377 mm 6.6x6.6
V 300 - 900 300 - 900 mm T 4 - T 32 3 99 11 - 4 4.5 - 1.6 15.8 34.8 156 mm 672 mm 48 mm
Hawk C-Series Anamorphics

C 40 40 mm T 2.2 - T 16 1 36 61.4 26.1 2.2 4.8 110 mm 143 mm 4x5.65
C 50 50 mm T 2.2 - T 16 1 36 51.2 21.7 2.1 4.6 110 mm 161 mm 4x5.65
C 60 60 mm T 2.2 - T 16 1 36 43.2 18.4 2.1 4.6 110 mm 180 mm 4x5.65
C 75 75 mm T 2.2 - T 16 1 36 35.9 15.3 2.4 5.2 110 mm 188 mm 4x5.65
C 100 100 mm T 3 - T 22 1 36 26.8 11.4 2.7 5.9 110 mm 218 mm 4x5.65
C 55 - 165 55 - 165 mm T 4 - T 22 1 36 48.5 - 16.8 20.7 - 7.2 2.2 4.8 110 mm 192 mm 4x5.65
Hawk Anamorphic recommended Panning Speeds

For static scenes - 180 shutter & various degrees of sweep
Example: 60 pan with 100 mm Hawk V-Series lens should take 18 seconds
Focal Length of Hawk Anamorphic Lens
25-30 mm 35 - 40 mm 50 - 60 mm 75 mm 100 mm 135 mm 180 mm 250 mm 350 mm

30 2 3 5 6 9 12 18 20 32
Panning Speed in
Panning Angle
60 4 6 10 12 18 24 36 40 64
seconds
90 6 9 15 18 27 36 54 60 96
120 8 12 20 24 36 48 72 80 128
150 10 15 25 30 45 60 90 100 160
180 12 18 30 36 54 72 108 120 192
p11_1115
HAWK VINTAGE74 PrImEs
Cinematographers who seek the signature
1970s look, complete with low contrast, flares,
color aberrations and other flaws, can now
achieve that look with lenses that incorporate
state-of-the-art optics and mechanics and work
seamlessly with the latest accessories.
After listening to our
customers, we noticed
strong interest in older
lenses, due to their
unique defects. At
Vantage, we understand
that these so-called
defects are tools used
by cinematographers to
subtly communicate a
certain feeling or mood
to the audience. For
example, some of these
older lenses, prized for
beauty work, deliver
a low contrast image
with creamy skin tones.
With todays glossy
digital formats, the right
lens can add a certain
authenticity or aesthetic
to the image by way
of these traits, which
in many cases were
The Hawk Vintage74 Lenses deliver the lower contrast and
originally limitations chromatic and flare characteristics of older, 1970s lenses, but with
precise, modern mechanics and the dependability, sharpness and
consistency of all current Hawk lenses.
certain contrast and
color characteristics
and more put to use
by cinematographers as depend on over the last 40 years. We researched the
storytelling tools. types and methods of coating used in these lenses
from the 1970s, and undertook a series of experiments
Our idea was to update designed to recreate the effect. Modern optics meant
these lens traits, making that our recipe varied from the older lenses, which often
these imaging tools used only one or two layers of coatings. Modern coating
available in a lens techniques often employ as many as seven layers.
that comes with all the After two years of tests, we arrived at a combination
Hawk Vintage74 thoroughly upgrades in design and of coatings and lens elements that achieves our goal: a
modern lenses that deliver the
recognizable patina of those
ease of use that camera thoroughly modern lens that delivers the recognizable
films we love from the 1970s. crews have come to
p12_1115

Hawk V-Plus Vintage74
Front anamorPHic Zoom lenses
Vantages uncompromising standards, unparalleled design
expertise, and precision manufacturing allow these new lenses
to intercut seamlessly with the entire line of Hawk Vintage74
primes, a welcome addition to the Hawk family of lenses.
The Hawk Vintage74 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 Vintage74 Front
Anamorphic Zoom Lenses 45-90mm/T 2.9 and 80-
180 mm/T2.9, giving cinematographers all the versatility
and advantages of zooms while delivering the same
performance and look as the 74 anamorphic primes.
These new zoom lenses required two years of testing

and are extremely complicated to produce, but the
results are undoubtedly spectacular. They are based on
the very popular V-Plus Front Anamorphic Zoom Lenses
and have 22 optical elements that
provide 32 glass-to-air surfaces.
Every surface has been modified
to create the distinctive Hawk
Vintage74 look. This extremely
complex process is a marvel of
optical design and ingenuity.
The new Hawk V-Plus Vintage74 45-90 mm/T2.8 and CfD Angle of View
80-180 mm/T2.8 Front anamorphic Zoom Lenses deliver Focal Length Stop
m ft horizontal vertical
lower contrast and chromatic and flare characteristics of 1970s
lenses with modern mechanics and the dependability, sharpness and
45-90 mm T2.9 - T16 0.75 26 53.3-29.2 22.7-12.4
consistency of all current Hawk lenses.
80-180 mm T2.9 - T16 1 33 32.5-14.7 13.8- 6.3
p13_1115

V-Lite Vintage74

Lens Stop
Hawk V-Lite Anamorphics Vintage74

V-Lite 28 28 mm T 2.3 - T 16 0.8 27 82.3 35 2.1 4.6 120 mm 137 mm 4x5.65
V-Lite 35 35 mm T 2.3 - T 16 1 33 65.4 27.8 2.9 6.4 120 mm 170 mm 4x5.65
V-Lite 45 45 mm T 2.3 - T 16 1 33 53.3 22.7 1.9 4.2 104 mm 154 mm 4x5.65
V-Lite 55 55 mm T 2.3 - T 16 1 33 47.10 20 2 4.4 104 mm 156 mm 4x5.65
V-Lite 65 65 mm T 2.3 - T 16 1 33 39.7 16.6 2 4.4 104 mm 160 mm 4x5.65
V-Lite 80 80 mm T 2.3 - T 16 1 33 32.5 13.8 2.3 5 104 mm 185 mm 4x5.65
V-Lite 110 110 mm T 3.1 - T 16 1 33 23.5 10 2.6 5.7 104 mm 200 mm 4x5.65
V-Lite 140 140 mm T 3.7 - T 22 1 33 18.5 7.9 2.7 5.9 104 mm 220 mm 4x5.65
Hawk V-Plus Anamorphics Vintage74 Zooms

V-Plus 2:1 45-90 mm T 2.9 - T 16 0.75 26 53.3-29.2 22.7-12.4 5.3 11.7 125 mm 280 mm 4x5.65
V-Plus 2:1 80-180 mm T 2.9 - T 16 1 33 32.5-14.7 13.8-6.3 7.6 16.8 125 mm 430 mm 4x5.65
The Hawk Vintage74 Lenses are

thoroughly compatible with motor-
driven follow focus devices, clip-on
matteboxes, and other modern lens
mechanics, and they feature robust,
clear markings. They are more
durable and more resistant than
actual 1970s lenses to the physical
punishment of todays 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 Vintage74 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
Comparison of modern film formats 2x
Hawk Anamorphic: 2x squeeze Digital & Analog
The Hawk 2x Anamorphics support a wide range
anamorphic and spherical shooting.
format Used image area advantages disadvantages Camera systems
Highest image quality, elegant

framing, represents high required anamorphic * *
Anamorphic production value, high speed lenses and adapted *

/
2.40 scope camera equipment. Dragon*/Weapon*
*
2x
409 mm2
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.
standard lenses and cameras Lower image quality, *
2.40 spherical
* *
245 / *
mm2 smallest sensor/nega Dragon/Weapon

*
formats, expensive DI *
process required. *
*
Image area cropped
One basic difference between spherical lenses and anamorphic lens systems is the way in which images
are captured. Anamorphic lens designs use two focal lengths in one system: a longer focal length for formats, Hawk anamorphic
the vertical part of the image and a shorter one for the horizontal part. This leads to pictures with more lenses are the right choice. the
audiences, the production va-

differences in general per formance between anamorphic lenses and spherical ones. This applies all the -
more because the true anamorphic format is supported by a much larger sensor area (or a larger negative
generations.

anamorphic lenses
11/2014
Lens Focal L./T-Stop Cfd Lens Focal L./T-Stop Cfd
hawk v-lite anamorphics hawk v-lite vintage74 anamorphics
Hawk V-Lite 28 28 mm / T2.2 80 cm Hawk V-Lite 28 28 mm / T2.3 80 cm

Hawk V-Lite 35 35 mm / T2.3 1m
Hawk V-Lite 55 55 mm / T2.2 1m Hawk V-Lite 65 65 mm / T2.3 1m
Hawk V-Lite 110 110 mm / T3 1m Hawk V-Lite 140 140 mm / T3.7 1m
Hawk V-Lite 140 140 mm / T3.5 1m Hawk V-Plus 2:1 Zoom 45-90 mm/T2.9 75 cm
Hawk V-Plus 2:1 Zoom 80-180 mm/T2.9 1m
hawk v-plus anamorphics
Hawk V-Plus 35 35 mm / T2.2 75 cm Lens Focal L./T-Stop
Hawk V-Plus 40 40 mm / T2.2 75 cm
Hawk V-Plus 451 Super Close Focus 45 mm / T3 40 cm various anamorphic lenses
Angnieux/Hawk 12:1 Optimo 48-580 mm/ T4
Hawk V-Plus 65 Super Close Focus 65 mm / T3 40 cm
Angnieux/Hawk 6:1 Zoom 34-204 mm/ T4.2
Angnieux/Hawk 10:1 Zoom 50-500 mm/ T5.1
Hawk V-Plus 100 100 mm / T2.2 1m Canon/Hawk 600 600 mm / T4
Hawk V-Plus 120 Super Close Focus 120 mm / T3.5 40 cm Canon/Hawk 800 800 mm / T4
Hawk V-Plus 135 135 mm / T3 1m Canon/Hawk 1000 1000 mm / T6.3
Canon/Hawk 1600 1600 mm / T8
Hawk V-Plus 150 150 mm / T3 1m
Hawk V-Plus 2:1 Zoom 45-90 mm/T2.8 75 cm Century/Hawk 2000 2000 mm / T8
Hawk V-Plus 2:1 Zoom 80-180 mm/T2.8 1m Nikon/Hawk 400 400 mm / T3
Nikon/Hawk 600 High Speed 600 mm / T3
hawk v-series anamorphics Nikon/Hawk 600 600 mm / T4
Nikon/Hawk 800 800 mm / T4
Hawk V-Series 25 + 2 Diopters 25 mm / T2.2 60 cm Nikon/Hawk 1200 1200 mm / T5.6
Hawk V-Series 30 30 mm / T2.2 80 cm
Slant Focus/Hawk 90 90 mm / T4
Slant Focus/Hawk 180 180 mm / T4
Hawk V-Series 50 50 mm / T2.2 60 cm 100 mm / T5.6
Hawk V-Series 60 60 mm / T2.2 60 cm Swing-Shift System/Hawk 160 mm / T4
Hawk V-Series 75 75 mm / T2.2 60 cm 220 mm / T3.5
Hawk V-Series 100 100 mm / T2.2 1m 20, 28, 35, 50,
Hawk V-Series 135 135 mm / T3 1m T-REX Superscope/Hawk
80, 150 mm/T8
Hawk V-Series 180 180 mm / T3 2m
Hawk V-Series 250 250 mm / T3 2m Hawk Rear Attachment
doubles the focal length, minus one stop
Hawk V-Series 350 350 mm / T4 2m
1.4x Extender for APL 250 Hawk Rear Attachment Optimo
Hawk V-Series 5:1 Zoom 46-230 mm/T4 40 cm doubles the focal length, minus one stop
Hawk V-Series 3:1 Zoom 300-900 mm/T4 3m

anamorphic view finders
hawk c-series anamorphics Anamorphic View Finder for Arricam Studio
Anamorphic View Finder for Arricam Lite
Hawk C-Series 40 40 mm / T2.2 1m
Hawk C-Series 3:1 Zoom 55-165 mm/T4 1m Anamorphic Eyepiece for Moviecam Compact
Anamorphic View Finder Ext. for Moviecam Compact
Anamorphic View Finder for Moviecam SL
hawk v-lite16 anamorphics
Anamorphic Ground Glass + Gate for Moviecam
Hawk V-Lite16 14 14 mm / T1.5 80 cm
accessories
Hawk V-Lite16 18 18 mm / T1.5 1m
Hawk V-Lite16 24 24 mm / T1.5 1m Directors Finder Anamorphic
Hawk V-Lite16 35 35 mm / T1.5 1m FF-4 Conversion Kit only (Follow Focus not supplied)
Hawk V-Lite 45 45 mm / T2.2 1m Wide Focus Gear for LCS use with Hawk C-Series
Hawk V-Lite 110 110 mm / T3 1m
Hawk V-Lite 140 140 mm / T3.5 1m Anamorphic Format Converter (for Video Assist)
p16_1115
AnAmorphic compArison tAble 2x
Angle of view
Hawk Anamorphics compared to Spherical Lenses
spherical lenses
hawk Anamorphic hawk Anamorphic
n35
25 mm 12.5 mm
28 mm 20 mm 14 mm
30 mm 15 mm
35 mm 24 mm 17.5 mm
40 mm 28 mm 20 mm
45 mm 30 mm* 22.5 mm
50 mm 35 mm 25 mm
55 mm 40 mm* 27.5 mm
60 mm 30 mm
65 mm 45 mm 32.5 mm
50 mm* 35 mm
75 mm 55 mm 37.5 mm
80 mm 60 mm* 40 mm
85 mm 42.5 mm
90 mm* 65 mm 45 mm
100 mm 75 mm* 50 mm
110 mm 80 mm 55 mm
120 mm 85 mm* 60 mm
90 mm* 62.5 mm
135 mm 67.5 mm
140 mm 100 mm* 70 mm
150 mm 110 mm 75 mm
120 mm* 82.5 mm
180 mm 135 mm* 90 mm
140 mm 100 mm
150 mm* 105 mm
250 mm 180 mm* 125 mm
350 mm 175 mm
* Focal length available on Hawk Front Anamorphic Zoom Lens
p17_1115

Hawk V-Lite anamorpHics Squeeze
As a part of its steady commitment to the film industry,

Vantage developed a new squeezing ratio for its range of
Hawk Anamorphics: Hawk Anamorphic 1.3x Squeeze.
Ten new primes are available:

Hawk V-Lite 1.3x 20 mm/t2.2
Hawk V-Lite 1.3x 110 mm/t3
Hawk V-Lite 1.3x 140 mm/t3.5 No matter which format you ultimately decide on, the
additional lenses will follow. new Hawk V-Lite 1.3x Anamorphics use 33% more sensor/
negative compared to standard spherical lenses. The
The advent of digital cameras, the use of digital post- new lenses are designed from scratch and set a high
benchmark for all other existing lens systems.
such as 3 perf have created a growing demand for
cutting edge lens technology. The Hawk V-Lite 1.3x Along with the new Hawk lenses, Vantage developed new
anamorphic viewfinders for all ArricamTM and ArriflexTM
cameras. Also, our PSU HD video assist systems have been
upgraded to desqueeze the 1.3x images.
The unique squeezing factor of 1.30x makes it possible

to use nearly the entire sensor area of a 16:9 digital the lenses can be used with following
camera and achieve the popular widescreen 1:2.40 cameras/formats:
release format. The new Hawks compress the wider
image to the size of the smaller sensor. No top/bottom
cropping of the sensor area is required. This means 1:1.85
PL
nearly the entire 1:2.40
maximum image quality combined with a very pleasant sensor/negative area
emotional effect.
Furthermore, the new lenses allow shooting with 4:3 ne- 4:3 1:1.78 16:9 Broad-
cast release
gative/sensor area and stretch it to 1:78 for 16:9 HDTV PL full sensor
1:1.33 1:1.85 Theatrical

release
full frame
The V-Lite 1.3x 28 mm/T2.2 covers a horizontal angle of view of 60,8. The use of cylindrical lenses with an extremely small radius enabled us to
minimize the aerial distance between the single elements and pack them tightly into a small short housing. We reduced the size of the new Hawks to an
ultra compact shape smaller than most spherical lenses on the market right now. Focus and iris rings are at identical positions on all V-Lite lenses. The
extends the close focus range to high performance macro work.

p18_1115

HAWK 1.3x Squeeze
FRONT ANAMORPHIC zOOMS
combine the unique, cinematic visual characteristics of
Hawk 1.3x Squeeze Anamorphic Prime Lenses with the
convenience and variable focal length of zoom lenses.
Rear anamorphic zooms work with widescreen formats, the Hawk Front Anamorphic Zoom Lenses place the
but they cannot deliver the unique and distinctive lan- anamorphic element in front of the spherical elements.
guage of true anamorphic. They lack the true anamor- The resulting image displays all the anamorphic blur,
phic qualities of prime lenses in part because they are shallow depth of field, elliptical highlights, streaks and
designed and built with the anamorphic elements at the flares, geometric curvature and barrel distortion, and
back end, behind the spherical elements. Originally, distinct planes of focus cinematographers expect from
rear anamorphics were developed because of the large anamorphic primes.
size of zoom lenses, but the spherical taking lens meant
that the anamorphic elements could not wield their To begin with, the challenge demanded a smaller spherical
unique influence on the image. The resulting image zoom lens. Vantage began by achieving breakthroughs
was squeezed to the proper standard, but it lacked the in size. Here the companys policy of controlling and
Scope traits filmmakers desire for visual storytelling.
mind paid dividends once again. The resulting 1.3x
Cinematographers should have anamorphic zoom Squeeze front anamorphic construction delivers excellent
lenses that deliver the same performance and look as close focus ability, giving cinematographers additional
anamorphic primes. Unlike existing anamorphic zooms,
These new
lenses intercut
seamlessly with
our entire line
of 1.3x Squeeze
anamorphic
primes.
Vantage has
HAWK V-Plus brought their
uncompromising
30-60 mm/T2.8
technical
Front Anamorphic Zoom Lens, cfd 0.6 m/2
standards,
unparalleled
design
expertise,
and precision
manufacturing
to bear on this
newest addition
to the Hawk
family of lenses.
HAWK V-Plus
45-90 mm/T2.8
Front Anamorphic Zoom Lens, cfd 0.75 m/26
Hawk 1.3x Anamorphic Lenses can be used on all modern digital and
film cameras. The unique squeezing factor of 1.30x makes it possible
to use nearly the entire sensor area of a 16:9 digital camera and
achieve the popular widescreen 1:2.40 release format. Furthermore
the lenses can strech the 4:3 negative/sensor area to 1:78 for 16:9
HAWK V-Plus HDTV release. No matter which format you ultimately decide on
80-180 mm/T2.8 the new Hawk 1.3x Anamorphics use 33% more sensor/negative
Front Anamorphic Zoom Lens, cfd 1 m/33 compared to standard spherical lenses.
p19_1115

V-Lite/V-Plus 1.3x
Hawk Anamorphic 1.3x SQUEEZE - Technical Data

Lens Stop
Hawk V-Lite Anamorphics SQUEEZE
V-Lite 20 20 mm T 2.2 - T 16 0.6 2 80.5 34.3 2.5 5.5 142 mm 145 mm 6.6x6.6
V-Lite 24 24 mm T 2.2 - T 16 0.6 2 70.2 29.9 2.5 5.5 120 mm 145 mm 4x5.65
V-Lite 28 28 mm T 2.2 - T 16 0.8 27 60.8 25.9 2.3 5 120 mm 137 mm 4x5.65
V-Lite 35 35 mm T 2.2 - T 16 1 33 48.5 20.7 2.9 6.4 120 mm 170 mm 4x5.65
V-Lite 45 45 mm T 2.2 - T 16 1 33 39.6 16.9 1.9 4.2 104 mm 154 mm 4x5.65
V-Lite 55 55 mm T 2.2 - T 16 1 33 34.9 14.9 2 4.4 104 mm 156 mm 4x5.65
V-Lite 65 65 mm T 2.2 - T 16 1 33 29.2 12.4 2 4.4 104 mm 160 mm 4x5.65
V-Lite 80 80 mm T 2.2 - T 16 1 33 24 10.2 2.3 5 104 mm 185 mm 4x5.65
V-Lite 110 110 mm T 3 - T 16 1 33 17.4 7.4 2.6 5.7 104 mm 200 mm 4x5.65
V-Lite 140 140 mm T 3.5 - T 16 1 33 12.2 5.2 2.7 5.9 104 mm 220 mm 4x5.65
Hawk V-Plus Anamorphics SQUEEZE
V-Plus 2:1 30-60 mm T 2.8 - T 16 0.6 2 53.5- 31 22.8- 13.2 5.6 12.3 142 mm 310 mm 6.6x6.6
V-Plus 2:1 45-90 mm T 2.8 - T 16 0.75 26 39- 21 16.6- 9 5.3 11.7 125 mm 280 mm 4x5.65
V-Plus 2:1 80-180 mm T 2.8 - T 16 1 33 23.5- 9.8 10- 4.2 7.6 16.8 125 mm 430 mm 4x5.65
The lenses can be used with the following cameras/formats

Camera System Capturing Format/Release Format
1:1.85
PL 1:2.40
4:3 1:1.78
PL
1:1.33 1:1.85
Comparison of modern film formats
Hawk Anamorphic: 1.3x squeeze Digital & Analog
The new Hawk V-Lite 1.3x Anamorphics support a wide range of
and spherical shooting.
format Used image area advantages disadvantages Camera systems
elegant framing, represents -

high production value, high quired 1.3x anamorphic
Anamorphic lenses.
340
2.40 scope
mm2 sensor/negative area,
ultimate format for theatrical
release, ideal format for
HDTV release.
standard lenses and cameras *
2.40 spherical *
* *
245 mm2
shorter lenses, smallest
sensor/negative area of *
*
required anamorphic *
Anamorphic negative area, ultimate format lenses. *
466
*
mm2 and TV commercials.
standard lenses and cameras

look, shorter lenses.
340 mm2
*
Image area cropped
use 33% more sensor/negative area compared to standard spherical lenses. Along with the new Hawk

upgraded to desqueeze 1.3x images.

Hawk V-LiTe16
High Speed Anamorphics for 16 mm
In 2010, Vantage designed a required, so our experiments led to new design concepts
set of five entirely new lenses and manufacturing procedures that allowed us to produce
for 16 mm production. The lenses small in size and grand in performance. The efforts
lenses were designed from led to the simple and elegant solution of using cylindrical
scratch and deliver ultra-high lenses with extremely small radiuses to minimize the aerial
performance. The lenses have distance between the lenses and then pack them tightly
a 1.3x squeeze desirable for into a small, short housing.
Super 16 and are available in
the following focal lengths: After they were sure that such deeply curved lenses could
be manufactured, the optical calculations were made.
Hawk V-Lite16 14 mm/T1.5 Hawk Chief Optical Scientist, Dr. Anatoly B. Agourok
Hawk V-Lite16 18 mm/T1.5 explains, To achieve a minimum lens size, I did some
Hawk V-Lite16 24 mm/T1.5 intricate fine tuning. Not only did I optimize the shape
Hawk V-Lite16 28 mm/T1.5 of the optical elements, I also managed to reduce their
Hawk V-Lite16 35 mm/T1.5 number. Plus, I used ultra-thin glass with a high refractive
Hawk V-Lite 45 mm/T2.2 index and set even stricter manufacturing tolerances than
Hawk V-Lite 55 mm/T2.2 I usually do.
Hawk V-Lite 65 mm/T2.2
Hawk V-Lite 80 mm/T2.2 The result of these efforts is a range of strikingly compact,
Hawk V-Lite 110 mm/T3 lightweight S16 anamorphic lenses. These lenses have
Hawk V-Lite 140 mm/T3.5 been reduced to their very essence and are smaller than
most spherical
Simplicity and functionality lenses on the
T1.5 High Speed for Super 16 anamorphic
govern the design of this series of market. Still, Fully open, the Hawk V-Lite 16 1.3x provides 100%
small, lightweight Hawk V-Lite16 they offer the more light than 35mm anamorphics. This supports
Anamorphics. same stunning
performance as
-
The challenge of producing a set all Hawk V-Plus stic of true anamorphic capturing.
of anamorphic 16 mm lenses was Anamorphics.
not an easy one. It had never - Finally, DoPs
been done before, and shooting gular Hawk V-Lite ana- and camera
spherical 16 mm always required morphics, the 16 mm set operators have
covers the wide range
a compromise between negative from 14 to 140 mm. the opportu-
nity to work
with small S16
lenses which
they no longer need to make this uncomfortable trade off. are just as good
Proven lens designs did not lead to a compact S16 as their 35mm
anamorphic lens with the full-blown quality that Vantage counterparts.
The lenses are available in two versions:
Hawk V-Lite16 Squeeze for Normal 16
This format delivers classical anamorphic images with shallow depth

1:2.40
Hawk V-Lite16 Squeeze for Super 16

1:2.40
This format uses the full S16 negative area. The emotional impact
lies between anamorphic and spherical capturing.
systems, have been upgraded to desqueeze these 1.3x images.

p22_1115

V-Lite16
Hawk Anamorphic for 16 mm Film - Technical Data

Lens Stop
Hawk V-Lite16 Anamorphics SQUEEZE

V-Lite16 14 14 mm T 1.5 - T 16 0.8 27 80.5 34.3 2.3 5 120 mm 140 mm 4x5.65
V-Lite16 18 18 mm T 1.5 - T 16 1 33 62.5 26.6 2.9 6.4 120 mm 173 mm 4x5.65
V-Lite16 24 24 mm T 1.5 - T 16 1 33 53 22.6 1.9 4.2 104 mm 158 mm 4x5.65
V-Lite16 28 28 mm T 1.5 - T 16 1 33 44.5 20 2 4.4 104 mm 160 mm 4x5.65
V-Lite16 35 35 mm T 1.5 - T 16 1 33 36 15.3 2 4.4 104 mm 159 mm 4x5.65
V-Lite 45 45 mm T 2.2 - T 16 1 33 29 12.6 1.9 4.2 104 mm 154 mm 4x5.65
V-Lite 55 55 mm T 2.2 - T 16 1 33 22.5 9.6 2 4.4 104 mm 156 mm 4x5.65
V-Lite 65 65 mm T 2.2 - T 16 1 33 20.3 8.6 2 4.4 104 mm 160 mm 4x5.65
V-Lite 80 80 mm T 2.2 - T 16 1 33 16.5 7 2.3 5 104 mm 185 mm 4x5.65
V-Lite 110 110 mm T 3 - T 16 1 33 13 5.5 2.6 5.7 104 mm 200 mm 4x5.65
V-Lite 140 140 mm T 3.5 - T 16 1 33 10.4 4.4 2.7 5.9 104 mm 220 mm 4x5.65
Hawk V-Lite16 Anamorphics SQUEEZE

V-Lite16 14 14 mm T 1.5 - T 16 0.8 27 59 25.1 2.3 5 120 mm 140 mm 4x5.65
V-Lite16 18 18 mm T 1.5 - T 16 1 33 49.5 21 2.9 6.4 120 mm 173 mm 4x5.65
V-Lite16 24 24 mm T 1.5 - T 16 1 33 41 17.5 1.9 4.2 104 mm 158 mm 4x5.65
V-Lite16 28 28 mm T 1.5 - T 16 1 33 36.8 15.7 2 4.4 104 mm 160 mm 4x5.65
V-Lite16 35 35 mm T 1.5 - T 16 1 33 28.5 12.1 2 4.4 104 mm 159 mm 4x5.65
V-Lite 45 45 mm T 2.2 - T 16 1 33 23 9.8 1.9 4.2 104 mm 154 mm 4x5.65
V-Lite 55 55 mm T 2.2 - T 16 1 33 19.8 8.4 2 4.4 104 mm 156 mm 4x5.65
V-Lite 65 65 mm T 2.2 - T 16 1 33 16.4 7 2 4.4 104 mm 160 mm 4x5.65
V-Lite 80 80 mm T 2.2 - T 16 1 33 13.5 5.8 2.3 5 104 mm 185 mm 4x5.65
V-Lite 110 110 mm T 3 - T 16 1 33 9.8 4.2 2.6 5.7 104 mm 200 mm 4x5.65
V-Lite 140 140 mm T 3.5 - T 16 1 33 6.8 2.9 2.7 5.9 104 mm 220 mm 4x5.65
Hawk Anamorphic - recommended Panning Speeds

For static scenes - 180 shutter & various degrees of sweep
Example: 60 pan with 35 mm Hawk V-Lite16 lens - 2x SQUEEZE should take 12 seconds
Focal Length of Hawk V-Lite16 Lens SQUEEZE Focal Length of Hawk V-Lite16 Lens SQUEEZE
14 18 24-28 35 45 55- 80 110-140 14 18 24-28 35 45 55-65 80 110-140

mm mm mm mm mm 65 mm mm mm mm mm mm mm mm mm mm
mm
30 2 3 5 6 9 12 18 20 3 5 6 9 12 18 20 24
Panning Speed in
Panning Angle
60 4 6 10 12 18 24 36 40 6 10 12 18 24 36 40 48
seconds
90 6 9 15 18 27 36 54 60 9 15 18 27 36 54 60 72
120 8 12 20 24 36 48 72 80 12 20 24 36 48 72 80 96
150 10 15 25 30 45 60 90 100 15 25 30 45 60 90 100 120
180 12 18 30 36 54 72 108 120 18 30 36 54 72 108 120 144
p23_1115
anamorphic lenses 1.3x Squeeze
11/2014
Lens Focal L./T-Stop Cfd Product
hawk v-lite anamorphics 1.3x Squeeze anamorphic view finders 1.3x Squeeze
Hawk V-Lite 20 20 mm / T2.2 60 cm Anamorphic View Finder for Arricam Studio
Hawk V-Lite 24 24 mm / T2.2 60 cm Anamorphic View Finder for Arricam Lite
Hawk V-Lite 28 28 mm / T2.2 80 cm
hawk v-plus anamorphics 1.3x Squeeze

Hawk V-Plus 451 Super Close Focus 45 mm / T3 40 cm
Hawk V-Plus 2:1 Zoom 30-60 mm / T2.8 60 cm accessories 1.3x Squeeze
Hawk V-Plus 2:1 Zoom 45-90 mm / T2.8 75 cm
Hawk V-Plus 2:1 Zoom 80-180 mm / T2.8 1m
Hawk V-Plus 3:1 Zoom 200-600 mm / T3.2 2m
hawk v-lite16 anamorphics 1.3x Squeeze Hawk V-Series

FF-4 Conversion Kit only (Follow Focus not supplied)
Hawk V-Lite16 14 14 mm / T1.5 80 cm
Hawk V-Lite16 28 28 mm / T1.5 1m Anamorphic Format Converter (for Video Assist)
Hawk V-Lite 80 80 mm / T2.2 1m makes it possible to use nearly the entire sensor area of
achieve the popular widescreen 1:2.40 release format. The
smaller sensor. No top/bottom cropping of the sensor area

Lens Focal L./T-Stop
various anamorphic lenses 1.3x Squeeze with a very pleasant emotional effect.
32-380 mm/T3.2 Furthermore, the new lenses allow shooting with 4:3
22-130 mm/T3.4
32.5-325 mm/T3.5
Canon/Hawk 400 400 mm/T3.2
Century/Hawk 1300 1300 mm/T6.2 the lenses can be used with following
cameras/formats:
Nikon/Hawk 260 260 mm/T2.3
Nikon/Hawk 400 High Speed 400 mm/T2.3
1:1.85
65 mm/T4.5 nearly the entire 1:2.40
PL sensor/negative area
Swing-Shift System/Hawk 100 mm/T3.2
150 mm/T2.6
T-REX Superscope/Hawk 14, 19, 24, 35, 55,

100 mm/T6.2
Hawk Rear Attachment 4:3 1:1.78 cast release
PL full sensor
multiplies the focal length by 1.3 times, minus 1/4 stop
1:1.33 1:1.85 Theatrical
release
full frame
multiplies the focal length by 1.3 times, minus 1/4 stop
other combinations possible

p24_1115
Great films need
Great lenses
Steven Spielberg, Martin Scorsese,
and George Lucas choose their lenses
very carefully as do many great
search for brilliant image quality and

uncompromising optical precsion leads
p25_1115
These feaTure films have been shoT
wiTh hawK anamorPhiC lenses
2015

2014

2013

2012
2011
2010
2009
2008
2007
2006
2005
2004
2003
2002
2001
2000
1999
1998
1997
1996
1995
Thank you
George Lucas
Rick McCallum
David Tattersall
B.S.C
for
photographing
STAR WARS
EPISODE 1
with
Hawk
Anamorphic
Lenses

For further information contact Vantage Film, Phone +49 961 26795, Fax +49 961 62983, www.vantagefilm.com
Thank you
Roland Emmerich
and Markus Frderer
for
photographing
INDEPENDENCE DAY:
RESURGENCE
with
Hawk
Anamorphic
Lenses

psu 3 1
~ 2
3
4

VANTAGE PSU-3X
Digital Video Assist
Vantage introduces
the new PSU-3X the worlds
most powerful video assist

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
its 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
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
The heart of the PSU-3X is a state-of-the-art integrated dual HD processor for high
touch-screen, as well as on up to four outboard HD monitors. Simultaneous recording
Users of the PSU-3X rave about the units power attributes, which are far superior,
swap capability eliminating headaches. AC power supply is also an option.
Simplicity Ease of use is crucial to the on-set user of the PSU-3X. This operational simplicity might seem
p30_1115
Made in Germany by Vantage Film GmbH For further information contact Vantage Film,
Phone +49 961 26795, Fax +49 961 62983, www.vantagefilm.com
The PerfecT crew MeMber
satellite
PSU
be indispensable tools
PSU Satellite
to the eyes that need to see them often
tool helps by
delay and an array of
The PSU is designed, manufactured, programmed and sup-

ported by one company. And its a company that stands be-
hind every nut and bolt and every board in the unit.
David Goldy Goldsmith

MAnUfACtUReD by VAntAGe
David Goldy Goldsmith on the PSU-3X:
The PSU system offers portability and
rotate it to the left? The offered him freedom and
David Goldy Goldsmith

is a top video assist professional, with 20 years
experience working in the business.
Vantage PSU-3X Accessories
AC Adapter Remote Control Sunshade Rain Cover

Built like a traditional matte
box sunshade to reduce
PSU

lens lenses 1
2 ~es
Spherical Prime Lenses
Made
MadeininGermany
Germanyby
byVantage
VantageFilm
FilmGmbH
GmbH
Vantage One LenSeS
A unique line of high performance T1 prime cine lenses
that deliver images with a distinct personality.
Over the past two decades, Vantage has gained a

Looking back
reputation throughout the cinematography world for our
uncompromising Hawk anamorphic lenses. Now, with a In 1966, the Leica 50 mm T1.2 Nocti-
great deal of excitement and pride, Vantage takes an am- to achieve T1.2. The lens included one
aspheric element, which was ground
lenses: the Vantage One lenses. Why Vantage One? with a hand-guided tool, making it rare
and extremely expensive to produce.
Because this entire set of cine lenses comes with an eye- In 1976, the lens was upgraded to a
opening T-stop of T1. This pioneering achievement opens T1 version that replaced the aspheric
new worlds of creative opportunity for cinematographers. element with a non-aspherical lens
that took advantage of new develop-
ments in glass-making. It was a very smart calculation, done
This astonishing technical achievement is grounded with relatively limited technology, and the resulting lens be-
in a deep understanding of the history of lens design, came an iconic still photography tool. Known for its beautiful
bokeh, the 1976 Noctilux produced out-of-focus highlights
an awareness of todays fast-changing technological
with a distinctive three-dimensional, bubble-like quality and
environment, and informative conversations with con-
temporary cinematographers about their requirements. redesigned again using the latest technology, but photogra-
The design philosophy behind Vantage One lenses phers say that it lost some of its trademark personality.
is fundamentally different, taking advantage of basic

changes in filmmaking technology to deliver a distinc-
tive visual fingerprint and a new versatility in terms of
texture and feel. The line consists of nine prime lenses:
17.5, 21, 25, 32, 40, 50, 65, 90 and 120 mm, all of
which include super close-focus optics. And of course,
Vantage One lenses come with all the superior mecha-
nics and robust construction found in all of our lenses.
In short, our approach was to set a very ambitious

goal for our lens design team: an entire set of T1 cine
lenses, capable of producing images with an array of
looks and textures. We raised the bar further by limi-
ting the tools and technology available to them. With
Vantage One, they have cleared that bar, breaking
precedent and setting a new standard.
the thought process behind

Vantage One lenses
In the past, cinematographers could choose lenses from the
various manufacturers and combine their visual characteristics
a unique look for a given project. Over the past 15 to 20

years, modern lenses have become more and more similar,
due to increasingly sophisticated and precise design and
manufacturing techniques used by all the high-end lens
metrics. The quick market penetration of digital cameras has

further homogenized and limited the range of creative options
for cinematographers, who have had to change their methods
in pursuit of a distinctive look appropriate to a given project.

T1 For TexTure, noT sPeed
Before digital cameras made 800 ASA (and even faster Change in
speeds) common, cinematographers needed to achieve postproduction
a certain exposure level. This fact drove the desire for present
high speed lenses. Today, with extremely light-sensitive opportunities
digital sensors, that high speed is no longer an essential
attribute of cine lenses. With this in mind, and using as An important change in cinema-
tography technology that factors
a model the legendary Leica 50 mm T1 Noctilux still into our design philosophy is the
lens, we challenged our lens designers to create a T1 complete revamp of digital post-
production for motion pictures.
In the past, the relentless pursuit
elements and aspheric lenses. Through extensive expe- of improved sharpness in lenses
rimentation with exotic glass and clever arrangements was driven in part by the losses in
of various parameters within those self-imposed limita- image quality that resulted from
the multi-generational duplica-
tions, Vantage has created a very high speed lens that
tion process used to make prints.
renders superb results with a unique personality. The The sharpest possible taking lens
technological constraints that allow for overcorrected helped offset these losses and
spherical aberrations in T1 lenses still produce extremely
possible to the screen. That has
changed. Today, the path from
todays existing spherical prime cine lenses as they are capture through to projection has
opened. At T4, T2.8 and T2, Vantage One lenses can the potential to be visually loss-
less. Cinematographers tell us
that the sharpness of the image
lenses produce, but with superior image illumination. can be too intense and unfor-
And unlike those of our competitors, the Vantage One giving, too close to reality for
storytelling. In some situations,
lenses offer additional versatility at other stops. At T1.4, this sharpness calls for additional
the results are a bit more forgiving, yet still extremely makeup, adaptations in set deco-
good, and at T1, the Vantage One lenses lend the image ration and/or lighting time, or
a lovely, subtle creaminess, perfect for skin tones.
clarity. This new circumstance
allowed our lens designers to
No compromises were made in adapting the new de- shift emphasis from maximum
sign to all existing and future digital imaging systems. sharpness to other attributes. In
the Vantage One lenses, certain
The distance from the rear elements of the Vantage gentle aberrations and other
characteristics that might be
a result, light rays travel to the sensor in very straight
welcomed as storytelling tools for
lines. Benefits include less color fringing and excellent, cinematographers to manipulate
even illumination to the corners of the frame 100% at as they seek to transport audi-
T2, and 85% illumination even at T1. ences to virtual worlds.
Peter Mrtin and Wolfgang Bumler: Our lens

designers work at the intersection of technology
and creativity. Our observations, our approach to
design, and even our manufacturing techniques
are all focused entirely on cinematography and
its practitioners. Our ideas are rooted in a keen
awareness of the evolution of cinematographic
technology, and the opportunities that these
changes provide. Vantage is a cinematic company.
the colors they want.

Vantage One twO VersiOns
Regular or partially uncoated
Vantage One lenses will be offered in two versions. The Vantage One lenses feature all the durable, dependable
mechanics and robust construction that cinematogra-
marked with a distinctive red ring, will incorporate some phers have come to expect from our Hawk anamorphics.
optical elements with no coating. Leaving some elements The experience of designing and building anamorphic
lenses informs our work on the Vantage One line.
qualities that blend very well with the other characteri- Contrary to the trend in our business, the Vantage One
stics of the Vantage One line. lenses are very small and compact.
LENS FocaL aNgLE oF FRoNt oVERaLL

Stop cFd wEight FiLtER SiZE
REguLaR oR
LENgth SupER cLoSE FocuS ViEw diamEtER LENgth
paRtiaLLy uNcoatEd hoRiZoNtaL
VanTaGe one 17.5 17.5 mm T1 0.25 m 10 71.5 2.0 kg 4.4 Ibs 110 mm 152 mm 4x5.65
VanTaGe one
21 21 mm T1 0.25 m 10 62.2 1.8 kg 4.0 Ibs 110 mm 142 mm 4x5.65
VanTaGe one 25 25 mm T1 0.25 m 10 53.6 1.6 kg 3.5 Ibs 110 mm 124 mm 4x5.65
VanTaGe one
40 40 mm T1 0.34 m 12 34.9 1.5 kg 3.3 Ibs 110 mm 126 mm 4x5.65
VanTaGe one
50 50 mm T1 0.34 m 12 28 1.4 kg 3.1 Ibs 110 mm 124 mm 4x5.65
VanTaGe one
120 120 mm T1 0.75 m 26 11.9 3.8 kg 8.4 Ibs 156 mm 174 mm 4x5.65
p36_1115

t
m pac
o
ly c ht
eme weig
HAWK 10-24MM/T2.5 t r
ex light to
an
d cus
Super Wide Angle Zoom Lens se f o
t
e r clo lemen
p t e
su ron
f
the
The spherical
Hawk 10-24 mm/T2.5 zoom
is the first 35 mm ultra-wide
angle zoom lens worldwide.
The Hawk 10-24 mm/T2.5

offers extremely high image
quality and compares in
speed, weight and size to
currently available fixed
focal length lenses. A switch
to the lens, therefore, poses
no restrictions whatsoever
in terms of T-Stop or the
Steadicam setup.
The new Super-Close-

Focus-System developed by
Vantage and for the first time
used in the Hawk 10-24 mm/
T2.5 zoom lens guarantees
close-up focusing right to
the front element in other
words, considerably closer
focusing than all other
primes available within this
range. This leads to dramatic
differences in image size
and allows for more creative
freedom.
Moreover, three aspherical

and two ultra low dispersion
lens elements ensure that
images are sharp and clear Focal length 10 mm - 24 mm
from the center to the edges Film format Super 35 ANSI (18,7 x 24,9 mm)
and virtually free of color Maximum aperture T2.5
fringing, regardless of the CfD 24 cm / 9
focal length setting. By using Lens construction 17 elements in 13 groups, 2 glass mold aspherical,
a ten-bladed iris diaphragm 1 compound aspherical and 2 UD lens elements
that produces a nearly Angle of view 98,9-56,2 horizontal (18,7 x 24,9 mm)
circular aperture, out-of-focus Dimensions 170 mm diam. x 185 mm
images in front of or behind Weight 3.95 kg / 8.7 lbs.
the subject are rendered as Front diameter 156 mm
pleasing blurs. Filter size 6.6 x 6.6
p37_1115

t
m pac
o
ly c ht
eme weig
VANTAGE 17-35 MM ZOOM t r
ex light to
an
d
f o cus
se t
e r clo lemen
p t e
su ron
f
the
The Vantage 17-35 mm/T2.8 Zoom

can focus up to 28 cm / 11
closer than any other zoom lens
available. It can focus even closer
than comparable close focus prime
lenses. Shots in focus just in front of
the clip-on matte box are possible.
Image quality is excellent. All

optics are made by Nikon,
maintaining maximum definition
even in the corners at close focus.
The lens is compact and lightweight

ideal for handheld or Steadicam
shots. All scales are geared and
clearly engraved on both sides. The
front diameter is 110 mm - similar
to the Vantage Macro Lenses and
to the Cooke S4 Primes.
Inspiration comes in a small pa-

ckage with the Vantage 17-35 mm
Lightweight Zoom.
Optical design 13 elements / 10 groups

Weight 1.7 kg / 3.75 lbs
Front diameter 110 mm
Overall length 127 mm
Cfd 28 cm / 11
p38_1115

HAWK 150-450 mm T2.8
High Speed Telephoto Zoom Lens you can quickly change
it from a 150 - 450 mm T2.8 to a 100 - 300 mm T2.2
Its also the fastest 100-300 mm available. How does this lens give you two sets of
the focal length are reduced 0.7 times.
Filters on the front of a long lens degrade its image of
This is a big lens 600 mm long. Positioning

of the elements and mechanical tracking must both be even more precise
than in a shorter lens. Zooming moves are obviously very long but must
stay centered. Sometimes we contact camera crews to get feedback on the
equipment they just rented from us. A number of DPs have told us theyre
extra attention to metal expansion and contraction. Instead of the usual
Focal Length 150-450 mm
T-Stop 2.8 constant throughout

the entire range
Image Format 35 mm ANSI 18.6 x 24.9 mm
Lens Mount PL
The Hawk 0.7x Reducer can be easily attached Number of Elements 18 in 12 groups
on location.
Overall Lenght 660 mm
Front Diameter 156 mm
Internal Filters 48 mm (2 pcs.)
Temp.Range -20C +50C

-5F +125F
no calibration variation
The rotatable Polarizer is available as True

Pol or 1-Stop Pola It has a locking mechanism
and can be set by hand or motor. 0.7x Reducer
You are welcome to test the zooming

accuracy on our test projectors before
your next shoot.
p39_1115

KinoptiK paris Lenses
Re-Housed Vintage Glass, Beautiful Images
Founded in 1932 by Messieurs Grosset and Perthuis in
Paris, Kinoptik has produced some of the most advanced
optical systems used in the civilian, military, and
research communities. Kinopitk concentrated its efforts
on the cinema business in 1944 by building lenses and
and the high quality of their optics. Kinoptiks high point
Features
KinoptiK-paris Lenses
Focal Length Stop CFD
18 mm T 2.2 0.17 m 7
25 mm T 2.5 0.20 m 8
35 mm T 2.4 0.20 m 8
40 mm T 2.4 0.20 m 8
50 mm T 2.5 0.23 m 10
75 mm T 2.5 0.45 m 16 Kinoptik lenses
100 mm T 2.5 0.50 m 18 provide vivid images. The color temperature is warm, creating nice
150 mm T 2.5 0.90 m 28
Vantage has re-housed and adapted these lenses to give cinematographers the opportunity to use this classic glass with modern cameras and mecha-
Sharp lenSeS for Soft SceneS
Our uncoated Superspeeds help you create
the scenes mood and feeling
These are modern Zeiss lenses, so you know theyre sharp. Naturally, you can expect a similar effect from every
But they can also help you to capture the atmosphere you lens in the set. There are some coatings still in place on
in digital post almost never looks natural, and its done by some focal lengths, more from others, so they all match.
someone else. With these lenses, you control the look Theyre all Zeiss T1.3 designs, but our coating removal
and the feeling of each shot in the camera.
And theyre not just for noticea
with them outside on cloudy

days. You can place the sun
in a corner of the frame for
Ericson Core, But I have also
stage. When I use them, its to set the

mood for that particular scene and
to make the images speak.
glass elements and from the black inte

rior of the lens barrel, moving the light
or the lens a few millimeters gives you
a range of unpredictable veiling choices
effect slightly different. (And this may be a
the set of uncoated lenses consists of

following primes and zooms:
Zeiss 14mm
Zeiss 18mm
Zeiss 25mm
Zeiss 35mm
Zeiss 50mm
Zeiss 85mm
If youd like to run some tests with our ambience lenses

before your next important shoot, give us a call.
p42_1115
BAUSCH & LOMB
SUPER BALTAR LENSES
Very old glass mounted in modern mechanics
These vintage lenses were manufactured years ago for

Mitchell Camera Corp. by Bausch & Lomb in Rochester,
New York. The Super Baltars inherently create a soft
and warm look. Gentle and pleasing, often with an
artistic flare, our Super Baltars have all been completely
rebuilt by MOY in the United Kingdom. All primes offer
extended close focus distances for macro work.
Bausch & Lomb began producing camera lenses for the motion picture industry in
1915. Its Super Cinephor projection lens became the industry standard when it was
introduced in 1922. Bausch & Lomb helped revolutionize the movie-going experience
in 1952 with the introduction of the CinemaScope lens by 20th Century Fox. The new
technology was so popular that MGM and Warner Brothers quickly took it up as well. In
1955, the Motion Picture Academy of America honored Bausch & Lomb with an Academy
Award the Oscar for its contributions to the industry.
The set of Super Baltars consists of following primes:
Bausch & Lomb MOY Super Baltar 20 mm / T2.3

If youd like to run some tests with our Super Baltars

p43_1115
high speed AsphericAl lenses
The classic definition to cinematography:
Canon K-35s from the 1970ies
*The K-35 series of high-performance lenses represents

an achievement in the tradition of Canon reliability and
technical excellence. This wide range of focal length
lenses was engineered and manufactured taking full
advantage of Canons experience in every aspect of
cinematography. And these lenses exceed the exact
demands from professional performance.
Canons years of experience and research shine

through the carefully crafted design of the lenses,
unrivaled in reliability, optical and mechanical The set of K-35 consist of following lenses:
performance. Canon paved the way with the
introduction of its aspherical lenses.
Features
professional users.
professional color
balance.
*Canons advertising text
from 1977.
if youd like to run some tests with our

K-35 lenses before your next important
shoot, give us a call.
kowa anamorphics
Extremely compact Anamorphics made in Japan
Kowa Anamorphics were produced in the 1970s. Due

to their compactness, they are often used for action or
aerial sequences. The range consists of four primes (40,
50, 75 and 100 mm). The optical design and coating
type of the Kowa Anamorphics can not be compared
with todays standards. Heavy flaring, distortion,
breathing and softness are inherent to this construction.
Unique vintage looks can be achieved by using these
lenses on modern digital film cameras.
Features
The set of kowa anamorphics consists of

following lenses:
if youd like to run some tests

with our kowa anamorphics
lenses before your next
important shoot, give us a call.
p45_1115
LensBaBy PL
Our Lensbaby help you create
desired out of focus effects
Lensbaby PL is the hybrid love child of an old-fashioned How to use the Lensbaby:
bellows camera and an up-tight, tilt-shift lens. Lensbaby Focus your Lensbaby by compressing the lens with your
allows precise focus control.
move the sweet spot of sharp focus around the image
Featuring a low dispersion, multi-coated optical glass by bending the lens. When the sweet spot is sharp and
doublet, the Lensbaby delivers images with a tack-sharp placed where you want, press the Locking Button on
sweet spot. the Focusing Collar to lock your Lensbaby into place.
Seven different iris disks allow aperture settings

between T2 and T22. the sweet spots placement by rotating the metal rods.
The Lensbaby PL kit includes three

focal lengths:
30 mm / T2 50 mm / T2 80 mm / T2
Optics Multi-coated optical glass doublet
Focus Manual/Fingertip with two
If youd like to run some tests with our

Iris Interchangeable levitating Lensbaby before your next
aperture discs important shoot, give us a call.
p46_1115
VANTAGE 6 mm ATTACHmENT
for NikoN 8 mm fisHEyE
The Vantage 6 mm Attachment converts the Nikon 8 mm Fisheye into a

lens with a 220 angle of view. This perspective is so extreme, the lens
actually looks backwards on the edges of the frame.
The front glass diameter measures 225 mm/8.8 and it

weighs a total of 2.6 kg/5.6 lbs. This makes the Vantage
6mm Fisheye Attachment one of the largest optical
elements ever produced for motion picture image
capture, and its existence alone is an impressive
example of Vantages capabilities as a
lens producer.
Resulting Focal Length 6 mm
Resulting T-Stop 2.8
Cfd
Image Format 35 mm
Weight 5 kg / 10.9 lbs

Including Nikon 8 mm
Front Diameter 236 mm
Internal Filters 40.5 mm

p47_1115

For further information contact Vantage Film, Phone +49 961 26795, Fax +49 961 62983,
Vantage 0.7x ReduceR
When shooting with a Century Series 2000

Mk2 Periscope wide open, the lens has a
T-Stop of T4. Combine this lens with the
Vantage 0.7x Reducer and the T-Stop of the
Periscope changes to T2.8 with noticeably
improved picture quality.
The Vantage 0.7x Reducer can be combine

with many telephoto lenses and periscopes.
By attaching a 0.7x Reducer, the image size
will be reduced, but aberrations will also
be reduced. Therefore, the lens with the
reducer attached will perform better than
the original lens.
For decades, only 1.4x or 2x Extenders were

available. The Vantage 0.7x Reducer is a
unique tool that gives filmmakers new options
on the set.
the following lenses with universal Mount

accept the Vantage 0.7x Reducer:
The Vantage 0.7x Reducer attached to the

Century Series 2000 Mk2 Periscope

VANTAGE MACRO LENSES
High Quality Close-up optics
with the legendary LEICA glass
The following focal lengths are available

15, 19, 24, 27, 35, 50, 60, 90, 135, 180 mm, all T2.8
in PL- or PV-mount
Exposure compensation is shown on the left side of every lens
Vantage 60 mm/T2.8 MACRO

Internal Focusing
Lens Focal Length Stop CFD Weight Front Diameter Overall Length
MACRO 15 15 mm T 3.5 0.16 m 6,3 1.9 kg 4.2 Ibs 110 mm 112 mm
MACRO 90 90 mm T 2.8 0.35 m 12 2.2 kg 4.9 Ibs 110 mm 200 mm
p49_1115

ic
o s co p
r y
mic graph
Isco specImagIne r
Fo ato
em
A Long Distance Macro Lens cin
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 GmbHs Specimagine
lens system is a perfect solution for many situations,
especially tabletop commercial work.
1x 4x 10x
The Specimagine Long Distance Macro Lens system

is a modular system consisting of an optical basic
module and five attachment lenses. These provide be mounted on most 35 mm and 16 mm cameras. It
a magnification range of 0.3x to 10x and have a has an aperture range of T22 to T64, and the lens is
working distance of 20 cm (6.5 inches) to 4.8 cm (about compact and lightweight, measuring about 14 long and
2 inches). At the 24 inch range, the 1:1 image common weighing just 1.6 kg. Due to increased distance from the
to most macro lenses is achieved but from a much subject, lighting options are improved and with T-Stops
further distance.
TecHnIcaL specIFIcaTIons FoR Isco-opTIc specImagIne Lens anD moDULes
Standard Lens CF1 Attachment CF2 Attachment CF3 Attachment CF4 Attachment
Working 40-200 cm 30-70 cm 15-22 cm 10-13 cm 4.8-5.8 cm

Distance (16 to 79) (12 to 28) (6 to 9) (4 to 5) (2 to 2.3)
1.6x to 0.3x 2.1x to 0.8x 3.9x to 2.4x 5.3x to 3.9x 10.0x to 7.8x
p50_1115
T-REX SUPERSCOPE and
SKaTER SCOPE MInI T-REX
T-Rex Superscope
a multidirectional snorkel
105 mm 600 mm
system that is available in
T-Rex Superscope Stan-

dard Version Available
Lenses include 5.5-20, 8-18,
very high image quality and 17-36, 32-70 and 60-
matches will with modern 125 mm. Borescope optional
zooms and primes.
105 mm 550 mm
T-Rex Superscope High-

Speed Version Available
Leica Lenses include 10 , 14 ,
18, 24 , 40 and 80 mm.
Skater Scope Mini T-Rex

The Skater Scope is a compact snorkel lens system. Its
versatility and size make working on the set much easier
in critical lighting situations. It can be used straight (as a
boroscope) or tilted (as a periscope) at any angle.
CENTURY PERISCOPE
SERIES 2000 MARK II
Underwater or Close Work Reliability
Advanced Optical Performance While ideal

for shooting miniatures and tabletop setups, the Series
2000 Mark II T4 Periscope is equally at home in the
real world where lighting conditions are less easily
controlled. Displaying superior optical performance
even at the widest aperture, the Periscope can capture
unusual points of view in a wide range of shooting
situations, both in studio and on location.
High Resolution The Series 2000 Mark II Periscope

incorporates ultra-low dispersion Fluoro- Phosphate
glass, dramatically reducing field curvature and
chromatic aberration, which radically improves off-axis
resolution.
-
Simplified Exposure Control Compatible with an ture environments and real world scenarios
extensive range of lenses, the S 2000 Mark II Periscope
contains its own iris which reads directly in T-stops. The
camera operator need only set the lens aperture to Fluoro-Phosphate glass elements
2.8, and the Periscopes iris to the T-stop the exposure
requires. The iris provides the control necessary to T-Stops & Standard Follow Focus
minimize vignetting. The Periscopes new internal
focusing system makes it easy to utilize a standard
follow focus unit. iris and focus)
Reaching Out The S 2000 Mark II

Periscopes 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 lions cage.
Underwater Use Underwater Sleeve for

underwater shoots available.
CENTURY PERISCOPE SERIES 2000 MARK II
90 View
T4 - T32 T4 - T32
Interchangeable Interchangeable
Interchangeable Interchangeable
20.71L x 3.90D x 3.10W 21.72L x 3.90D x 3.10
10 lbs. 3 oz. 10 lbs. 1 oz.
* Images are inverted and reverted

p52_1115
optical 1
2
3
4
tool 1
2
filter 1
optical ~s
VANTAGE BLUE-VISION EXP
Five Experimental Flaring Attachments
The horizontal flare created by certain anamorphic lenses has
led to many discussions in recent years. On the one hand, this
optical imperfection is quite irritating because it highly impacts
the impression of the images. On the other hand, its technical
look is appreciated as an additional design element, especially
in action films and commercials.
Historically, the flare originates from the optical construction

and inadequate coating of the affected lens elements. Vantage
Film has developed the Blue-Vision attachments to give
cinematographers to ability to create appealing flares in a
controlled way.
The Blue-Vision EXP
version and only take up one slot in a standard matte box.
recommends proper testing of the effect in advance.
All Blue-Vision attachments

are precisely tuned to the
Colorless Flares: performance of Hawk
Vantage Anamorphics and offer
White-Vision EXP an especially pleasing
solution when combined
is the identical with them. However, these
product, without attachments can also be
the blue. used with many spherical
lenses from different
manufacturers as well.
European Patent 1672419 B1

granted. German Design Reg.
No. 40504902.1
Blue-Vision
is a registered
trademark of
Vantage Film
Produce Colorless Effects

with Vantage White-Vision EXP
p53_1115

VANTAGE BETHKE EffEcT
The Vantage Bethke Effect series
of ten high quality filters refract
and react with light in unique
ways. How the filters are used will
be as individual and distinct as
the cinematographer using them.
Vantage fosters an environment of invention,

and these filters are the inspired work of one of
our top lens engineers, Heiko Bethke. His long-
standing curiosity with light refraction led to years
of Vantage-supported experimentation on a wide
variety of materials. His work resulted in the Vantage Bethke Effect
development of these filters and the manufacturing is available in 6.6x6.6. They are designed for use with Arri LMB-4,
MB-14 and MB-28 matte boxes. A set contains ten filters: Aerosphere,
techniques that make them and their flawless Carnaby Street 1968, Dandelion, Fish Swarm, Ice Dust, Kojak Blue,
optical qualities possible. Kojak Brown, Kojak Red, Las Vegas 5am, Red Pearls. Patent pending.
Extensive testing revealed which materials resulted

in the most interesting and potentially usable
image abstractions. Making the final cut were
diamond dust, filaments, and glass in varying
shapes, e.g., pearls and cylinders. Color is
another variable that played into the development
of this exciting series of filters.
Kojak Red
Equally crucial to success was Bethkes development
of patented methods for the manufacture of
as Las Vegas 5AM, Fish Swarm, Ice Dust, and

Dandelion before packaging them as a set of ten,
each solidly mounted in an engraved frame and
ready for the matte box.
Carnaby Street 1968

Naturally, a cinematographers personality and
vision will inform the use these filters, and lens
choice, focal length, direction of the light, and
light intensity are only some of the variables
that can change the effects the filters produce.
The effects can be subtle or overwhelming we
leave that choice up to the cinematographer.
Looking ahead, we plan to expand the range of
Bethke Filters. As film enthusiasts, we know that
Las Vegas 5am
sometimes the best cinema breaks the rules; these Original frame grabs. Shot with Hawk 45-90mm/T2.8 1.3x Squeeze
new filters work to break a few as well. Front Anamorphic Zoom Lens, Arri Alexa Plus 4:3 and Xenon Flashlight.
If youd like to run some tests with our Vantage Bethke Effect
p53_1115
VANTAGE GLARE EFFECT FILTERS
The Vantage Glare Effect Filters are a series
of five superior quality lens attach ments
that use prisms, crystals and other objects
to break up light from outside the frame
in fascinating and surprising ways.
With the Vantage Glare Effect Filters, Vantage provides

another tool whereby filmmakers can make the leap
from precision engineering to visual poetry. The Vantage
Glare Effect Filters grew out of our work with the
Vantage Bethke Filters, which use a variety of materials
to create image abstractions through the reflection and
refraction of light. The Glare Effect Filters differ, however,
from the Bethke Filters in three important ways. The first
is the materials with which they are constructed, which
Vantage
include tiny prisms, glass rods, and SwarovskiTM crystals,
Glare Effect
made by the legendary Austrian crystal manufacturer. is available in
The second crucial difference is that the Glare Effect 6.6x6.6. They are
designed for use with Arri
Filters are designed to redirect light from outside the LMB-4, MB-14 and MB-28
frame. As a result, the effect is not generated by a light matte boxes.
source within the frame. The Bethke Filters, on the other
is a registered trademark
hand, usually work with a light source that is present in of Vantage Film
the frame. The third difference is that unlike the Bethke
Filters, which come in a range of colors, the Glare Effect
Filters are completely white and work without adding
color to the light and images they affect.
Because of the additional thickness of the objects they

introduce into the optical path, the Vantage Glare Effect
Filters take the place of two filters trays. The reflective
and refractive elements are mounted between two
pieces of optically flawless glass. The filters can be
rotated or repositioned within the filter tray during the
A
shot, to create dynamic effects.
The effects generated by the combination of Glare Effect

Filters and the quality, angle, color and intensity of
light range from subtle to powerfully abstract. As with
any tool Vantage makes, the final effect depends on the
individual judgment and inclination of the artist who
wields it. At Vantage, we understand that superlative
imagery is often the result of painstaking study and
planning that intersects with an unexpected moment of
inspiration. Our goal with the Glare Effect Filters is to
help facilitate these happy accidents.
B
If youd like to run some tests with our Vantage Glare Effect
p54_1115
VANTAGE POLA FRAMES
Vantage Pola Frames

are designed for use with
ARRI matte boxes.
The Pola Frame allows rotation

of the polarizer without turning
the clip-on matte box.
Gears with module 0.8 allowing

motorized in-shot rotation.
Vantage Pola Frames come in

two sizes, both equipped
with original Schneider
A True Pol/85 combined

version is available
on request.
Vantage Pola Frame

4x5.65 for ARRI MB-5,
MB-18, MB-19
Vantage Pola Frame XL

6.6x6.6 for ARRI LMB-4,
MB-14
The Vantage Pola Frame XL

covers very wide lenses
e.g. Zeiss Ultra Prime 8R
or Angnieux 24-290 mm
Optimo

p56_1115
For further information contact Vantage Film, Phone +49 961 26795,
Patent pending
Vantage Filter OVerView Select from
more than
6000
light Correction:
Polarizing:

Clear / UV:

CLAIRMONT IMAGE SHAKER
Camera Safe Shaking Effects
The Clairmont Camera Image Shaker has been

designed to provide camera safe shaking effects
in a space saving, quiet package. The system
accomplishes this not by moving the whole
camera but by using modern computerized
controlled actuators and captive custom Clairmont
Image Shaker
formulated optical materials to move the with both actuators
image the camera sees. for X and Y axis,
mounted power-
distribution-box and
You can independently adjust on both X and Y control-box.
axis enabling you to simulate, for instance, a
bouncing off-road vehicle by creating moderate
side to side motion and vigorous up and down
shaking, or you can go all out in all directions.
Its your choice! The advanced micro controller
provides truly random motion, which is completely
under your control. You control the horizontal. You
control the vertical. Because the system is stationary,
the operator is now actually able to view through
the eyepiece while the image is shaking. The
Clairmont Image Shaker provides instant results,
on the set, now. No more post production
cookie cutter effects.
The unit is compact and easy to set up. It weighs

4 kg / 9 lbs including all mounted accessories. Its
support bracket mounts on 19 or 15mm Arriflex
rods. The Clairmont Image Shaker has to be
used in front of the lens, and accepts a
LMB-4 matte box for filtering. A special
adapter accepts all original MB-14 light
protection rings for proper connection to
spherical and anamorphic lenses.
Because it is quiet and provides a great

amount of shaking without damaging the
camera or lens, it is compatible with sound
cameras as well as MOS cameras.
It covers spherical lenses from 18 mm to 180 mm

and anamorphic lenses from 50 mm to 250 mm.
The Clairmont Image Shaker is exclusively

available in Europe through Vantage Film.
p58_1115
Vantage SlenDer DIopter
The extremely thin Vantage Slender Diopter uses only a single
filter slot. Its Rectangular shape covers wide lenses.
At Vantage, a wealth of experience and expertise in Features of the Vantage Slender Diopter:
optical design goes into all our products not just our
well known Hawk Anamorphics and Vantage One T1
spherical lenses. We also take great care in the design
and manufacture of other optical tools, always with the
eliminates ghosting
Slender Diopter.
The Vantage Slender Diopter offers cinematographers

the convenience of a high quality diopter in a standard extremely high picture quality
with almost no distortion or
expensive OharaTM S-LAH51 glass, weve created an
ARRITM with Hawk and Vantage lenses
consuming mounting with a donut. Instead, adding or

removing the Slender Diopter is as easy and quick as
The Vantage Slender Diopter

strength of +0.8, as opposed to the normal +1,
The VANTAGE Slender Diopter
If youd like to run some tests with our Slender Diopter

p59_1115
VANTAGE SLIDE DIOPTERS
Vantage Slide Diopters are designed for use with regular
Arri MB-14 or LMB-4 matte boxes.
Vantage Slide Diopters

fit directly into the filter
slots of these matte boxes.
Therefore, placing a diopter
in front of the lens takes
only a few seconds. Up to
three Slide Diopters can be
used at the same time. To
insert a Slide Diopters, two
of the original filter holders
must be removed.
Lenses such as the Zeiss

10 or 12 Ultra Prime or the
Hawk V-Series 30, 35, or
40 mm can be used with a
diopter for the first time by
simply placing a Vantage Vantage Spot Diopter
Slide Diopters into an Arri with 25 mm bore - offset
LMB-4 clip-on matte box.
Vantage Slide Diopters

are made with high-quality
optical elements that are set
within precision machined
and engraved aluminum
frames.
A set contains three Diopters

optical power: +0.5, +1, +2
diopter dimension: 6
frame dimension: 6.6 x 6.6
widest lens Zeiss: 10 mm Ultra Prime
widest anamorphic lens: Vantage Slide Diopter +2 Vantage Slide Diopter +1
Hawk V-Series 25 mm used with an ARRI LMB-4 used with an ARRI MB-14
p60_1115

VANTAGE STRIP DIOPTERS
Vantage Strip Diopters
are designed for use with a
ARRI MB-14 matte box.
Vantage Strip Diopters

can be mounted at the same time
to give the desired effect.
Geared Vantage Strip Diopters frames
Vantage Strip Diopter 15 mm wide
Vantage Strip Diopter 30 mm wide
A set contains six Diopters

VANTAGE SQUEEZE DIOPTERS
Vantage Squeeze Diopters are designed for use with an ARRI MB-14 matte box.
They add a subtle out-of-focus touch to the edges of the frame. Zooming through
the Vantage Squeeze Diopter creates a unique in-shot variation of the soft effect.
The achieved effect is similar to the well-known Clairmont Squishy Lens.
Vantage Squeeze Diopter

with 25 mm neutral zone
Vantage Squeeze Diopter

with 75 mm neutral zone
A set contains 9 diopters
optical power: +1, +2, +3
neutral zone diameter: 25 mm, 50 mm, 75 mm
widest lens covered: Zeiss 10 mm
p62_1115

VANTAGE SPOT DIOPTERS
Vantage Spot Diopters are designed
for use with a ARRI MB-14 matte box.
Rotateable in-shot
Vantage Spot Diopter

with 25 mm bore - offset
A set contains 12 diopters

optical power: +0.5, +1, +1.5 Vantage Spot Diopter
with 50 mm bore
bore diameter: 25 mm, 50 mm
bore position: centered, offset
widest lens covered: Zeiss 10 mm
p63_1115

Century Super-Wide LoW-AngLe priSm
For Extreme Low or High Angle Shoots
The Century Super-Wide Low-Angle Prism allows

for shooting down to a point of view of 2.5
(6.35 cm) off the floor and supports lenses as
wide as 16 mm. The unit can be inverted to
provide for high-angle shots as well. Lenses
up to 5 (127 mm) may be installed
directly behind the prism without filters
for the widest view possible. It couples
directly to standard bridgeplate rods
and accepts two 4x5.65 filters,
and an adapter accommodates two
4x4 filters or Chrosziel holders.
The addition of filters increases the
distance between the back of the
prism and lens by , which may
limit the coverage of certain wide-
angle lenses.
The prism makes many difficult

shots much easier and provides
high quality optics that
minimize light loss and create
crisp, clear, distortion-free images.
Features
(6.35cm)
Glass
4x4 filter holders
Weight 15.5 lbs (7 kg)
Centurys Super Wide Angle Prism sits only 0.25 The Prism can be inverted
off the surface which permits a point of view less than 2.5 for high angle shots or when
from the floor or ceiling. working in tight quarters.
p64_1115
lens lenses 1
2 ~es
table 1
2 3
lens
~
Vantage Lens table i
11/2014
Vantage Lens tabLe PL - Mount
Fisheye Lenses / super Wide angLe primes

Lens Focal Length Aperture Cfd
Vantage
VANTAGE 6 mm T2.8 0.27 m
Super-Fisheye 6 mm
Super-Fisheye 7.2 mm T3.3 0.27 m T2.8
CENTury Nikon 8 mm T2.8 0.24 m
Fisheye 9.6 mm T3.3 0.25 m
OPTAr Fisheye 9 mm T2.5 1.30 m

Full Frame Fix Focus
CENTury Tga 9.8 mm T2.3 0.20 m

Wide Angle Attachment gives 6.8 mm T2.3 0.20 m
ZEiSS 10 mm T2.1 0.33 m
VANTAGE 12 mm T2 0.26 m
14 mm T2 0.25 m
Vantage One
primes 40 mm
T1
VANTAGE One 17.5 mm T1 0.25 m
21 mm T1 0.25 m
25 mm T1 0.25 m
32 mm T1 0.25 m
40 mm T1 0.34 m
50 mm T1 0.34 m Zeiss
65 mm T1 0.34 m 10 mm
90 mm T1 0.50 m T2.1
120 mm T1 0.75 m
COOKE S4 12 mm T2 0.20 m
14 mm T2 0.20 m
16 mm T2 0.25 m
18 mm T2 0.22 m
21 mm T2 0.22 m
25 mm T2 0.22 m Vantage
27 mm T2 0.25 m 14 mm
32 mm T2 0.30 m T2
35 mm T2 0.34 m
40 mm T2 0.39 m
50 mm T2 0.50 m
65 mm T2 0.70 m
COOKe Optar Century

S4 65 mm Fisheye 9 mm Tga 9.8 mm/T2.3
T2 T2.5 with Wide Angle Attachment
p65_1115
Vantage Lens table ii
11/2014
primes continued
Lens Focal Length Aperture Cfd COOKe

S4 180 mm
COOKE S4 75 mm T2 0.75 m
T2
100 mm T2 0.90 m
135 mm T2 0.77 m
150 mm T2 1.00 m
180 mm T2 1.24 m
Soft Focus Attachment for 65 mm T2 0.70 m

& 75 mm T2 0.75 m
COOKe
COOKE Mini S4 18 mm T2.8 0.25 m
Mini S4 32 mm
25 mm T2.8 0.25 m
T2.8
32 mm T2.8 0.30 m
40 mm T2.8 0.40 m
50 mm T2.8 0.50 m
75 mm T2.8 0.75 m
100 mm T2.8 0.90 m
135 mm T2.8 1.00 m
LEiCA Summilux C Prime 16 mm T1.4 0.35 m LeiCa

18 mm T1.4 0.35 m Summilux C Prime 50 mm
21 mm T1.4
T1.4 0.31 m
25 mm T1.4 0.31 m
35 mm T1.4 0.36 m
40 mm T1.4 0.41 m
50 mm T1.4 0.50 m
65 mm T1.4 0.43 m
75 mm T1.4 0.70 m
Zeiss
100 mm T1.4 0.90 m
Ultra Prime 8 mm R
ZEiSS ultra Prime r 8 mm T2.8 0.35 m T2.8
10 mm T2.1 0.33 m
12 mm T2 0.30 m
14 mm T1.9 0.22 m
16 mm T1.9 0.25 m
20 mm T1.9 0.28 m
24 mm T1.9 0.30 m
28 mm T1.9 0.28 m
32 mm T1.9 0.35 m
Zeiss
40 mm T1.9 0.38 m
Ultra Prime 180 mm
50 mm T1.9 0.60 m
T1.9
65 mm T1.9 0.65 m
85 mm T1.9 0.90 m
100 mm T1.9 1.00 m
135 mm T1.9 1.50 m
180 mm T1.9 2.50 m
ZEiSS ultra Prime LDS 14 mm T1.9 0.22 m

16 mm T1.9 0.25 m Zeiss
20 mm T1.9 0.28 m Ultra Prime 135 mm
24 mm T1.9 0.30 m T1.9 LDS
28 mm T1.9 0.28 m
32 mm T1.9 0.35 m
40 mm T1.9 0.38 m
50 mm T1.9 0.60 m
85 mm T1.9 0.90 m
100 mm T1.9 1.00 m
135 mm T1.9 1.50 m
p66_1115
Vantage Lens table iii
11/2014
primes continued

Zeiss
ZEiSS Master Prime 12 mm T1.3 0.40 m Master Prime 12 mm
14 mm T1.3 0.35 m T1.3
16 mm T1.3 0.35 m
18 mm T1.3 0.35 m
21 mm T1.3 0.35 m
25 mm T1.3 0.35 m
27 mm T1.3 0.35 m
32 mm T1.3 0.35 m
35 mm T1.3 0.35 m
40 mm T1.3 0.40 m
50 mm T1.3 0.50 m Zeiss
65 mm T1.3 0.65 m Master Prime 150 mm
75 mm T1.3 0.80 m T1.3
100 mm T1.3 1.00 m
135 mm T1.3 0.95 m
150 mm T1.3 1.50 m
ZEiSS High Speed 18 mm T1.3 0.24 m
25 mm T1.3 0.24 m
35 mm T1.3 0.33 m
50 mm T1.3 0.67 m
65 mm T1.3 0.67 m Zeiss
85 mm T1.3 0.87 m
High Speed 65 mm
ZEiSS Standard 16 mm T2.1 0.23 m T1.3
20 mm T2.1 0.20 m
24 mm T2.1 0.32 m
28 mm T2.1 0.27 m
32 mm T2.1 0.55 m
40 mm T2.1 0.89 m
50 mm T2.1 0.44 m
85 mm T2.1 0.88 m
100 mm T2.1 0.99 m
135 mm T2.1 1.46 m Zeiss
Standard 50 mm
teLephOtO T2.1

CENTury Canon 200 mm T2 2.60 m
300 mm T2.8 2.80 m
400 mm T2.8 3.60 m
500 mm T4.5 5.00 m
800 mm T5.6 14.00 m
CENTury 1000 mm T5.6 14.00 m Century CanOn
400 mm
CENTury Nikon 200 mm T2 2.45 m T2.8
300 mm T2.8 3.60 m
400 mm T2.8 3.60 m
300 mm T2 High Speed 3.90 m
600 mm T4 6.50 m
Century niKOn Century niKOn

High Speed Telephoto 300 mm 400 mm
T2 T2.8
p67_1115
Vantage Lens table iV
11/2014
ZOOms
Lens Focal Length Aperture Cfd angnieuX
ANGNiEux Optimo Zoom 15-40 mm T2.6 0.60 m Optimo 15-40 mm
28-76 mm T2.6 0.60 m T2.6
45-120 mm T2.8 1.00 m
17-80 mm T2.2 0.61 m
24-290 mm T2.8 1.20 m
ANGNiEux Zoom 17-102 mm T2.9 0.75 m

angnieuX
ANGNiEux Zoom Hr 25-250 mm T3.5 1.70 m
Optimo 17-80 mm
T2.2
Mesmerizer for 17-102 mm +1 Stop 0.75 m
& 25-250 mm Hr +1 Stop 1.70 m
COOKE S4 Zoom 15-40 mm T2 0.43 m
COOKE Varo-Panchro 20-60 mm T3.1 0.65 m

angnieuX
COOKE Varotal Mk2 25-250 mm T3.9 1.60 m Optimo 24-290 mm
T2.8
Arri/FuJiNON Alura Zoom 18-80 mm T2.6 0.70 m
45-250 mm T2.6 1.20 m
HAWK Super Wide Zoom 10-24 mm T2.5 0.25 m
HAWK Telephoto Zoom 100-300 mm T2.2 3.00 m

COOKe
150-450 mm T2.8 3.00 m S4 Zoom Lens 15-40 mm/T2
VANTAGE Lightweight Zoom 17-35 mm T2.8 0.28 m
NiKON Zoom 70-200 mm T2.8 1.40 m
CENTury Minolta Zoom 28-70 mm T3 0.88 m
OPTAr Lightweight Zoom 25-80 mm T3.3 1.00 m
ZEiSS LWZ-1 15.5-45 mm T2.6 0.45 m

ZEiSS VP1 16-30 mm T2.2 0.58 m arri/FuJinOn
Alura Zoom 18-80 mm/T2.6
ZEiSS VP2 29-60 mm T2.2 0.78 m
ZEiSS VP3 55-105 mm T2.2 0.79 m
COnVerters / eXtensiOns
Manufacturer Item Optical power
VANTAGE reducer 0.7x arri/FuJinOn
Alura Zoom 45-250 mm/T2.6
CENTury Extender 1.4x
Extender 2x
CENTury Set of Extension Tubes PL to PL 25 mm / 50 mm
Zeiss Zeiss Vantage haWK

VP1 16-30 mm LWZ-1 15.5-45 mm 17-35 mm Super Wide Zoom
T2.2 T2.6 T2.8 10-24 mm
T2.5
p68_1115
Vantage Lens table V
11/2014
maCrO Lenses
arri
Arri Macro 16 mm T2.1 0.15 m Macro 50 mm
24 mm T2.1 0.17 m T3
32 mm T2.1 0.19 m
40 mm T2.1 0.24 m
50 mm T3 0.20 m
100 mm T3 0.35 m
200 mm T4.3 0.49 m
ZEiSS Master Macro 100 mm T2 0.49 m
VANTAGE LEiTZ Macro 15 mm T3.5 0.16 m Zeiss
19 mm T2.8 0.14 m Master Macro 100mm
24 mm T2.8 0.14 m T2
27 mm T2.8 0.15 m
35 mm T2.8 0.17 m
50 mm T2.8 0.23 m
60 mm T2.8 0.24 m
90 mm T2.8 0.34 m
135 mm T2.8 0.55 m
180 mm T2.8 0.78 m
iSCO SPECiMAGiNE T22
Long Distance Macro System Vantage LeitZ
Macro 27 mm
speCiaL Lenses T2.8

CLAirMONT 14 mm T2.8 0.18 m
Swing/Shift System 18 mm T3.8 0.18 m
24 mm T3.8 0.18 m
35 mm T3.2 0.19 m
50 mm T4 0.28 m
Vantage LeitZ
80 mm T2.8 0.34 m
Macro 50 mm
110 mm T2.4 0.58 m
T2.8
Arri 18 mm T3.8 0.15 m
Shift & Tilt Bellows System 20 mm T2.8 0.18 m
24 mm T4 0.22 m
45 mm T2.8 0.37 m
60 mm T2.8 0.36 m
90 mm T2.8 0.45 m
110 mm T2 0.62 m
150 mm T2.8 1.04 m arri
Tilt Focus 45 mm
retro-Adapter/CFM-1 remote Focus Motor T2.8
VANTAGE Shift & Tilt Mesmerizer +1 Stop
Arri Tilt Focus 24 mm T4 0.33 m
45 mm T2.8 0.28 m
90 mm T2.8 0.51 m
arri CLairmOnt isCO speCimagine

Shift & Tilt Bellows System Swing/Shift System Long Distance Macro System
p69_1115
Vantage Lens table Vi
11/2014
speCiaL Lenses continued
Lens Focal Length Aperture Cfd Lens babies

LENS BABiES PL System 30 mm T2 0.30 m PL System
50 mm T2 0.45 m
80 mm T2 0.72 m
T-rEx Superscope 5.5-20 mm T7.1 0.15 m

8-18 mm T7.1 0.18 m
17-36 mm T7.1 0.14 m Vantage
32-70 mm T7.1 0.22 m 2 mm Mini Macro/T22
60-125 mm T7.1 0.39 m
T-rEx Superscope HS Leica 10 mm T5.6 0.14 m

Optics 14 mm T5.6 0.14 m
No Zoom Function 18 mm T5.6 0.14 m t-reX hs
24 mm T5.6 0.14 m Superscope Leika Optics/T5.6
40 mm T5.6 0.21 m
80 mm T5.6 0.44 m
Mini-T-rEx/Skater Scope PL to PL T5.6 depends on lens

Cpt
VANTAGE 2 mm Mini Macro 40 mm T22 0.01 m Superscope/T5.7
CPT Superscope 10 mm T5.7 0.07 m

underwater Housings 15 mm T5.7 0.07 m
25 mm T5.7 0.08 m
32 mm T5.7 0.11 m
40 mm T5.7 0.14 m Cpt
60 mm T5.7 0.30 m Supersnorkel/T8
CPT Supersnorkel 6 mm T8 0.05 m

underwater Housings 10 mm T8 0.06 m
16 mm T8 0.06 m
20 mm T8 0.07 m CLairmOnt
40 mm T8 0.08 m Image Shaker
60 mm T8 0.14 m
Motor Drive
Mesmerizer for Superscope or Supersnorkel +1 Stop
CLAirMONT image Shaker
CENTury Series 2000 Super Low Angle Prism + Stop

CENTury S. 2000 Compact Low Angle Prism + Stop
CENTury Periscope Series 2000 Mk 2 PL to PL T4 depends

Straight Angle Attachment, Pair of 90 rods for on lens Century
Swing/Shift or Lens Motors, Vantage underwater Housing for Periscope, Series 2000 Super Low Angle Prism
underwater Sleeve for Periscope, Mesmerizer for Periscope
NiKON 8 mm T2.8 0.30 m

for Eyemo (Nikon-Mount) 12 mm T2.8 0.25 m
15 mm T2.8 0.30 m
20 mm T2.8 0.25 m
24 mm T2 0.30 m
28 mm T2 0.25 m
35 mm T2 0.30 m Century
50 mm T2 0.60 m Series 2000 Compact Low Angle Prism
ZEiSS Compact 16 mm T2.2 0.25 m

for Eyemo 24 mm T2.2 0.35 m
(Arri-Standard-Mount) 32 mm T2.2 0.60 m
50 mm T2.2 1.00 m
85 mm T2.2 2.00 m
135 mm T4 1.20 m
p70_1115
Vantage Lens table Vii
11/2014
haWK anamOrphiCs
haWK
HAWK V-PLuS 35 mm T2.2 0.75 m V-Plus 35 mm
40 mm T2.2 0.75 m T2.2
50 mm T2.2 0.60 m
Super Close Focus 65 mm T2.2 0.40 m
75 mm T2.2 0.60 m
85 mm T2.2 0.60 m
100 mm T2.2 1.00m
Super Close Focus 120 mm T3.5 0.40 m
135 mm T3 1.00 m
150 mm T3 1.00 m
haWK
45-90 mm T2.8 0.75 m
V-Lite 55 mm
80-180 mm T2.8 1.00 m
T2.2
HAWK V-LiTE 28 mm T2.2 0.80 m
35 mm T2.2 1.00 m
45 mm T2.2 1.00 m
55 mm T2.2 1.00 m
65 mm T2.2 1.00 m
80 mm T2.2 1.00 m
110 mm T3 1.00 m haWK
140 mm T3.5 1.00 m Vintage74 55 mm
T2.3
HAWK ViNTAGE74 28 mm T2.3 0.80 m
35 mm T2.3 1.00 m
45 mm T2.3 1.00 m
55 mm T2.3 1.00 m
65 mm T2.3 1.00 m
80 mm T2.3 1.00 m
110 mm T3.1 1.00 m
140 mm T3.7 1.00 m haWK
45-90 mm T2.9 0.75 m V-Lite16 28 mm
80-180 mm T2.9 1.00 m T1.5
HAWK V-LiTE16 14 mm T1.5 0.80 m

18 mm T1.5 1.00 m
24 mm T1.5 1.00 m
28 mm T1.5 1.00 m
35 mm T1.5 1.00 m
HAWK V-SEriES 25 mm T2.2 0.60 m
30 mm T2.2 0.80 m haWK
V-Series 50 mm
35 mm T2.2 0.75 m
T2.2
40 mm T2.2 0.75 m
50 mm T2.2 0.60 m
60 mm T2.2 0.60 m
75 mm T2.2 0.60 m
100 mm T2.2 1.00 m
haWK haWK
V-Plus Zoom 80-180 mm V-Plus Zoom 45-90 mm
T2.8 T2.8
p71_1115
Vantage Lens table Viii
11/2014
haWK anamOrphiCs continued
Lens Focal Length Aperture Cfd haWK

V-Series 5x46 Zoom
HAWK V-SEriES 135 mm T3 1.00 m
46-230 mm/T4
180 mm T3 2.00 m
250 mm T3 2.00 m
1.4x Extender for 250mm 350 mm

gives T4.2 2.00 m
46-230 mm T4 0.40 m
300-900 mm T4 3.00 m
haWK
HAWK C-SEriES 40 mm T2.2 1.00 m C-Series 40 mm
50 mm T2.2 1.00 m T2.2
60 mm T2.2 1.00 m
75 mm T2.2 1.00 m
100 mm T3 1.00 m
55-165 mm T4 1.00 m
haWK
C-Series 3x55 Zoom
Other anamOrphiCs 55-165 mm/T4

T-rEx Superscope 20 mm T8 0.14 m
Hawk Anamorphic 28 mm T8 0.14 m
35 mm T8 0.14 m
50 mm T8 0.14 m
80 mm T8 0.21 m
150 mm T8 0.44 m t-reX
Superscope/T8 Hawk Anamorphic
HAWK 100 mm T5.6 0.28 m
Swing/Shift 160 mm T4 0.34 m
System 220 mm T3.5 0.58 m
HAWK rear Attachment +1 Stop

HAWK rear Attachment Optimo +1 Stop haWK
Rear
Arri Slant Focus 90 mm T4 0.38 m Attachment
180 mm T4 0.51 m
arri
ANGNiEux Hawk 48-580 mm T4 1.20 m
Slant Focus 90 mm/T4
Optimo
Hawk Anamorphic
ANGNiEux Optimo 30-72 mm T4 0.65 m

56-152 mm T4 0.60 m
ANGNiEux Hawk 34-204 mm T4.2 0.75 m

Anamorphic 50-500 mm T5.1 1.70 m
angnieuX angnieuX
48-580 mm/T4 Optimo 56-152 mm
Hawk Anamorphic T4 Optimo
p72_1115
Vantage Lens table iX
11/2014
anamOrphiC Lenses continued
Lens Focal Length Aperture Cfd niKOn

CANON Hawk 600 mm T4 2.80 m Hawk Anamorphic
600 mm/T2.8
Anamorphic 800 mm T4 3.60 m
1000 mm T6.3 5.00 m
1600 mm T8 14.00 m
CENTury Hawk 2000 mm T8 14.00 m

Anamorphic
haWK
NiKON Hawk 600 mm T2.8 High Speed 3.90 m V-Lite 1.3x Squeeze
Anamorphic 600 mm T4 3.60 m 80 mm/T2.2
800 mm T4 3.60 m
1200 mm T5.6 6.50 m
HAWK V-Lite 20 mm T2.2 0.60 m

1.3x Squeeze 24 mm T2.2 0.60 m
28 mm T2.2 0.80 m
35 mm T2.2 1.00 m haWK
45 mm T2.2 1.00 m V-Plus 1.3x Squeeze Zoom Lenses
55 mm T2.2 1.00 m 30-60 mm/T2.8
65 mm T2.2 1.00 m
80 mm T2.2 1.00 m
110 mm T3 1.00 m
140 mm T3.5 1.00 m
45-90 mm/T2.8
HAWK V-Plus 30-60 mm T2.8 0.60 m
1.3x Squeeze 45-90 mm T2.8 0.75 m
80-180 mm T2.8 1.00 m
HAWK V-Lite16 14 mm T1.5 0.80 m

18 mm T1.5 1.00 m 80-180 mm/T2.8
24 mm T1.5 1.00 m
28 mm T1.5 1.00 m
35 mm T1.5 1.00 m
ANGNiEux Hawk 32-380 mm T3.2 1.20 m

1.3x Squeeze Optimo haWK
V-Lite16 1.3x Squeeze
ANGNiEux Hawk 22-130 mm T3.4 0.75 m 24 mm/T1.5
1.3x Squeeze 32.5-325 mm T3.9 1.70 m
CANON Hawk 400 mm T3.2 2.80 m

1.3x Squeeze 500 mm T3.2 3.60 m
1000 mm T6.2 14.00 m
CENTury Hawk 1300 mm T6.2 14.00 m

CanOn
1.3x Squeeze Hawk Anamorphic 1.3x Squeeze
NiKON Hawk 260 mm T2.3 2.40 m 400 mm/T3.2
1.3x Squeeze 400 mm T2.3 High Speed 3.90 m
400 mm T3.2 3.60 m
500 mm T3.2 3.60 m
800 mm T4.5 6.50 m
HAWK Clairmont 65 mm T4.5 0.28 m

Swing/Shift 100 mm T3.2 0.34 m niKOn
System 150 mm T2.6 0.58 m Hawk Anamorphic 1.3x Squeeze
500 mm/T3.2
T-rEx Superscope 14 mm T6.2 0.14 m
Hawk Anamorphic 19 mm T6.2 0.14 m
24 mm T6.2 0.14 m
35 mm T6.2 0.14 m
55 mm T6.2 0.21 m
100 mm T6.2 0.44 m
p73_1115
Vantage Lens table X
11/2014
Vintage Lenses
Lens Focal Length Aperture Cfd COOKe
Speed Panchro 32 mm
COOKE Speed Panchro 18 mm T2.2 0.28 m T2.3
25 mm T2.2 0.20 m
32 mm T2.3 0.20 m
40 mm T2.3 0.21 m
50 mm T2.3 0.30 m
75 mm T2.3 0.45 m
100 mm T2.6 2.17 m CanOn
K-35 18 mm
CANON K-35 18 mm T1.5 0.30 m T1.5
24 mm T1.5 0.30 m
35 mm T1.3 0.30 m
50 mm T1.3 0.45 m
85 mm T1.3 0.90 m
Macro Zoom 25-120 mm T2.8 0.35 m
Macro Zoom Anamorphic 50-240 mm T4 0.35 m
CanOn
25-120 mm/T2.8
BAuSCH & LOMB MOy 25 mm T2.3 0.20 m
Macro Zoom
Super Baltar 35 mm T2.3 0.20 m
50 mm T2.3 0.20 m
75 mm T2.3 0.29 m
100 mm T2.3 0.38 m
KiNOPTiK Paris 18 mm T2.5 0.20 m

25 mm T2.5 0.20 m bausCh & LOmb mOy
35 mm T2.4 0.20 m Super Baltar 35 mm
40 mm T2.4 0.20 m T2.3
50 mm T2.5 0.25 m
75 mm T2.5 0.30 m
100 mm T2.5 0.30 m
150 mm T2.8 0.40 m
KOWA Cine Prominar 20 mm T2.6 0.25 m KinOptiK

25 mm T2.3 0.30 m 50 mm/T2.5
32 mm T2.5 0.46 m
40 mm T2.3 0.76 m
50 mm T2.3 0.76 m
75 mm T2.3 0.92 m
100 mm T2.6 1.50 m
KOWa
CiNAr uncoated 14 mm T2 0.25 m Cine Prominar 40 mm
T2.3
ZEiSS Superspeeds 18 mm T1.3 + Stop 0.24 m
uncoated 25 mm T1.3 + Stop 0.24 m
35 mm T1.3 + Stop 0.33 m
50 mm T1.3 + Stop 0.67 m
85 mm T1.3 + Stop 0.87 m
KOWa
ANGNiEux 20-120 mm T2.9 + Stop 1.00 m
Anamorphic 50 mm
uncoated Zooms 25-250 mm T3.9 + Stop 1.68 m T2.3
KOWA Anamorphic 40 mm T2.3 0.91 m

50 mm T2.3 0.91 m
75 mm T2.8 0.91 m
100 mm T3.4 1.52 m
p74_1115
Vantage Lens table Xi
11/2014
Vintage Lenses continued
Lens Focal Length Aperture Cfd arri

Ultrascope 40 mm
Arri ultrascope 40 mm T2 1.00 m
T2
Anamorphic 50 mm T2 1.60 m
(for special effects) 85 mm T4 2.00 m
135 mm T4 2.00 m
LOMO-Scope 35 mm T2.9 1.00 m

Anamorphic 50 mm T2.5 1.00 m
(for special effects) 80 mm T2.3 1.00 m
BNCr-Mount 150 mm T3.7 2.00 m
diOpters & FiLters

Manufacturer Item
Vantage
SCHNEiDEr Diopter Diopters unmounted Slide Diopter
Split Diopters
VANTAGE Diopters Slide Diopter

Slender Diopter
Spot Diopter
Squeeze Diopter
Strip Diopter
VANTAGE Filters Pola Frame xL

Bethke Effect
Glare Effect
Blue-VisionExP
White-VisionExP Vantage
Spot Diopter
More than 5000 Filters & Diopters in stock
Vantage Vantage
Glare Effect BLUE-VISION
Vantage
Strip Diopter
Vantage
Pola Frame XL
Vantage
Slender Diopter
p75_1115
underwater 1
2
~ equipment
vAntAge UnderWAter eqUipMent
Nauticam underwater Housing Depth Rated VaNtage Periscope underwater Housing Depth Rated
For Arri Century periscope Series 2000 Mark2 0.5

m
Alexa Mini
80
5.5 TVLogic HD Monitor m
4 Batteries 14V/?Ah HyDRoflex accessories
HyDRoflex underwater Housings Depth Rated
SL Cine UW Head
For Arri UW Tripod
Alexa Aquacam UW Video Cable 15m or 30m
Preston Lens Control + Marine Hand Unit

UW Communication System
30
m

HD UW Monitor
4 Batteries 28V/20Ah
light meters
For phAntoM
Flex 4K Aquacam
Preston Lens Control + Marine Hand Unit 30

HD UW Monitor m Sekonic Marine UW Light Meter
For red HyDRoflex lights Depth Rated
epic/Weapon Aquacam hMi hydropar 1200 W System

Preston Lens Control + Marine Hand Unit 30
m

HD UW Monitor 30
m
epic/Weapon deep Water 1200 W 15 m

50
4 UW Batteries 12V/2.5Ah m tUngSten hydropar 1000 W System

UW Monitor + 2 Cables
HyDRoHeaD underwater Remote Head Depth Rated tUngSten hydropar 650 W System 30
m
2-Axis UW remote head

50
Power Pod Control Module m
650/1000 W 15 m
all Batteries incl. Chargers FlUoreSCent

tube 60 cm
Scubacam Splash Housings Depth Rated 2 Weight Cuffs

30
Arri Alexa Mini 2 FlUoreSCent
tube 120 cm m
m
4 Scubacam UW HD Monitor + 2 Cables
Weight Cuffs
Arri Alexa 2
m
4 Scubacam UW HD Monitor + 2 Cables
red epic 2
4 Scubacam UW Monitor + 2 Cables m HyDRoflex lighting accessories
red Weapon 2
Lead Shot Bag
m
4 Scubacam UW Monitor + 2 Cables
p76_1115
hydrohead Underwater
camera SyStem
The HydroHead is a waterproof remote pan
and tilt head. It is the perfect compliment to
our RemoteAquaCams. The HydroHeads light
weight and low profile, combined with the tubular
hydrodynamics of the RemoteAquaCams, allow
this system to glide through the water with less
resistance than anything currently available.
Our 2-axis analog head uses underwater

mateable connectors and is depth rated to
30 m. An optional L bracket allows mounting
a standard Arri or Panavision camera package
in one of our Scubacam Splash Bags for surface
wet work.
The HydroHead system uses reinforced Power Pod

electronics and offers operator familiarity and
years of dependable, in the field experience.
A dovetail balance plate is built into the tilt

rotator to accommodate a wide variety of prime
and zoom lenses, and a large selection of camera
combinations and Splash Bags can be fitted for
above water shooting in wet situations.
7.9 15.75
(200 mm) (400 mm)

hydrohead
Weight in air 23.5 kg
Weight in saltwater 20.5 kg
Operating depth 50 m
Power required 230 V Mains Power or 29.25

2x 24 Volts Battery Power (743 mm)
RAC
p77_1115
AlexA MiNi HoUsiNg
The new Nauticam Alexa Mini Housing was designed

in collaboration with Hydroflex, the worlds leading
underwater cinema equipment rental house, owned
by Pete Romano, ASC. Their combined effort has
created the perfect underwater housing system
for the Alexa Mini.
Cameras can be easily built up on the camera

base plate in good light before sliding the
assembled unit into the housing. Lens swaps
are easy, and the housing supports a wide
range of lenses, from very small lenses to
large cinema-style zooms. Large, rubberized
lens control knobs with marking discs provide
the operator with precise control over the
lens. The 250 mm optically coated glass dome
port provides outstanding wide-angle imaging
performance. An improved locking system makes
lens changes easier and reduces the chance of
leakage. Many 1/4-20, 3/8-16, and 10 mm
threaded accessory mounts are provided. The
housing ships with the Anton Bauer Gold Mount
battery plate and the LEMO connector. Plenty of space
is allocated for batteries, and surface supplied power
can be tethered for all-day shooting. Weight and trim
brackets make it easy to achieve neutral buoyancy and left-
right balance with easily sourced dive weights. A number of
on camera monitoring solutions are available.
Nauticam Underwater Housing

Camera Alexa Mini
Dimensions l x h x w 49 x 46 x 41 cm
Weight in air 38.5 kg (fully equipped)
5.5 underwater monitor
Lens port dome
Lenses Zeiss UP Series
Arri UWZ 9.5-18 mm
VantageOne T1
Cooke S4 Series
Hawk V-Lite
Hawk C-Series
p78_1115
Arri, red And phAntom
UnderwAter cAmerA SyStemS
The Hydroflex RAC (RemoteAquaCam) was
engineered primarily for use with our remote 2-axis
Hydrohead on a crane for at sea or wet stage
work. Field testing has also proven the AquaCam
to be useful for handheld filming under the water or
floating on the surface because of its aquadynamic
shape. Moreover, the AquaCam is ideal to shoot on
cramped underwater sets, e.g. submerged cars.
Designed around standard Arri film/digital cameras

and Preston remote focus and iris controls, this low
profile camera system can be easily fitted with
Cooke, Zeiss, Hawk or Panavision spherical and
anamorphic lenses. Small Vantage and Century
lightweight zoom lenses can also be used. Both
flat and dome ports are available as well as a
variety of port extension rings to accommodate the
different lenses. Water drops are cleared from the
front port by an air-powered rain deflector.
The Alexa HD-SDI output can be connected to a

6 HD underwater monitor for hand-held viewing,
allowing the operator to set the frame while the
camera assistant rolls camera, and pulls focus, iris
and zoom from above water from as far as 30 m
away. The optional Preston Marine Fl&Z hand unit
or Arri WCU-4 gives the camera assistant start/stop,
focus and iris control underwater. All camera functions
can be controlled using a WCU-4 with an Alexa preston marine
Remote licence key installed. Fl&Z hand unit

Arri red phantom
Camera Alexa Epic/Weapon Flex 4K

Weight in air (fully equipped) handheld 35 kg/remote 33 kg handheld 33 kg/remote 31 kg handheld 34 kg/remote 32 kg
Weight in saltwater handheld 1.2 kg (with slide in handheld 1.1 kg (with slide in handheld 1.2 kg (with slide in
diving weight) diving weight) diving weight)
remote -1.3 kg remote -1.2 kg remote -1.3 kg
Viewing 4.3 HD underwater monitor
Lens port
Lenses Hawk V-Lite, Hawk C-Series, MiniHawk, Vantage One T1, Arri Master Primes, Vantage Zoom 17-35 mm,
Century Zoom 28-70 mm, Zeiss UP Series, Cooke S4 Series, Canon Zoom Lenses
p79_1115
Professional aluminium underwater housing.
Made in USA.
The housing is straight forward, easy to use, and
camera with Hawk, Zeiss or Cooke lenses. Various

spherical and anamorphic lenses can be utilized in
to provide the cinematographer with a full range of

options underwater, on the surface, or on a wet set.
External controls are provided for iris, focus and video
power. Internally mounted lights can be switched on to
read T-stop, focus and footage counters.
Multiple 3 8-16 holes top and bottom facilitate

a number of mounting configurations, and our
mounting accessories allow easy rigging to jib arms,
dollys and cranes.
For above water filming in rainy or wet sets, an

optional lens port spray deflector system shoots air
across the lens area, keeping drops of water from
registering on the image.
When the video tap is used in conjunction with an

underwater speaker system, a director can view a
thru-the-lens image plus maintain communication
with a crew below.
Camera Red Weapon/Red Epic

Weight in air 38.5 kg (fully equipped)
6 underwater monitor
Lens port
Lenses Hawk V-Lite
Hawk C-Series
Vantage One
Zeiss UP Series
Zeiss Macros
Cooke S4 Series
p80_1115
SCUBACAM SplAShBAgS
The Scubacam range of splash bags are completely watertight flexible lightweight camera housings
for digital cameras. They are designed to operate just above or just below the surface of water or in
an environment which is extremely dusty or dirty, and give the camera both water and dirt protection,
while allowing the camera operator access to all the camera and lens functions.
Each model of the splash bag is made from high quality material that is molded to fit snugly around the
camera and lens. The units are sealed with specialized watertight zippers. All metal parts are either
stainless steel or anodized aluminium.
It is important to remember that these housings are not suitable for prolonged use under water, and
they are not an inexpensive replacement for more expensive aluminium deep water housings.
Scubacam Alexa Alexa Mini Red Epic

Black polyurethane coated onto a high tenacity polyamide webbing,
Housing
and heat sealed to clear viewing windows.
1 x 68 cm 1 x 67 cm 1 x 30 cm
Zippers
Zippers conform to the M.o.D. Interim Defence Standard 53-100/1 for sealed zip fasteners.
Dimensions l x h x w 70 x 35 x 43 cm 40 x 25 x 20 cm 40 x 35 x 25 cm
Weight in air 6.5 kg (without camera) 3.5 kg (without camera) 3.5 kg (without camera)
Operating temperature -4 degrees C. to +40 degrees C.
Front port spec. non-stick polymer. non-stick polymer. non-stick polymer.
163 x 133 mm 150 x 115 mm 160 x 120 mm
Dump Valve:
Leak alarm 9 volt tone generator max. output 95db.
Maximum depth NO MORE THAN 4 METRES
Maximum wide angle is 14 mm;

Lens information Maximum wide angle is 14 mm. Maximum wide angle is 12 mm.
standard.
Scubacam air-jet lens

cleaning system
Start/Stop Accessible through on/off pistol grip in side of housing.

p81_1115
HydroPar ligHting systems
HydroPar
Modular components, underwater mateable connectors and integrated ground fault sensors (GFCIs) for accident prevention make
-
-
HydroPar 1200 W Hmi 1000 W tungsten 650 W tungsten

- Designed primarily as a simple, Simple, compact underwater light
- lightweight multipurpose under-
ging fresnels to adjust the lights water light source, suitable for key
ingenious design allows the lamp achieved by using interchangea-

-
derwater mateable connector in-
mateable connectors incorporate an mateable connector incorporating
-
Bulb
POWER POWER POWER

NSP FFS
tm
120 cm 60 cm

Vantage underwater lighting equipment is rented to you only on condition that you will at all times
use it in conformity with all customary and legal safety and security requirements and regulations.
PeriscoPe Underwater HoUsing
Perfect for Underwater Work
The Vantage Periscope Underwater Housing makes

Instructions for Use
underwater shooting easy. It is designed for use
with the Century Periscope Series 2000 Mark II
and has three front housings that accept a variety 01 Slide the camera forward on to the bridge plate, and align
the front of the camera with the front of the bridge plate.
of lenses, including Cooke S-4s and Vantage Leitz
02 Insert the
Macros. An extension bracket can be attached for
periscope
motor-driven focus. support
rods into the
camera wedge
38 - 39 cm
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 04
periscope.
04 Slide the iris and 05
focus controls
onto the support
rods and lock them in
position. The levers have
to be inside.
05 Mount the support of
the periscope as shown
in the picture.
06 Ensure that the locking
clamp brackets at the
back of the housing are fully open, and then gently slide
the housing over the periscope. Ensure that the support
rods locate into the front support brackets inside the hou-
sing. Adjust the position of the housing and check if the
lens locking ring is in the center of the lens port, then lock
the rear clamps.
07 Attach the PL adapter to the periscope, and select the
lens. Set the lens focus on infinity, and the iris fully
open.
08 Check that the o-ring on the housing is in position, unda-
maged, and has been greased slightly. Select the most
suitable lens extension port and gently screw it on the
housing ensuring that it is fully screwed on. At this stage
it may be necessary to slightly adjust the position of the
Periscope Underwater Housing in order to keep the lens
in the middle of the lens port.
09 The yellow colored protective spray cover consists of
two parts. Attach the lower part (with window) to the
Periscope Underwater Housing. The window has to be
aligned to the camera display. Attach the second part of
the cover (with zipper) to the first part. Begin at the black
arrow on the first part.The four openings allow to insert
eyepiece, focus & iris whips, as well as the cabeling.
10 To avoid damage to the glass ports, ensure that the pro-
tective covers are in place at all times when they are not
in use.
p83_1115
miscellaneous 1
3
Vantage Weiden
Vantage Film GmbH
altstrae 9
92637 Weiden germany
Tel. +49 961 26795
from Munich: a9 direction

nuremberg,
motorway
junction Holledau:
a93 direction
Regensburg/Hof,
drive straight ahead
to Weiden, exit #24
Weiden Frauenricht
from Berlin: a9 direction Munich, motorway junction Bayerisch Vogtland:
a72 direction Dresden motorway junction Hochfranken:
a93 direction Regensburg, drive straight ahead to Weiden,
exit #24 Weiden Frauenricht
from Nuremberg: a6 direction amberg/Prague, motorway junction Oberpflzer Wald:
a93 direction Hof, drive straight ahead to Weiden, exit #24 Weiden Frauenricht
from Prague: e50/a6 direction nuremberg, motorway junction Oberpflzer Wald:
a93 direction Hof, drive straight ahead to Weiden, exit #24 Weiden Frauenricht
Vantage Berlin
Vantage Film GmbH
Oberlandstrae 13-14
12099 Berlin germany
Tel. +49 30 2887628-60
by car: a100
exit #21
Oberlandstrasse
from Airport Berlin Tegel:
a 111
direction Dresden/
Magdeburg/
Leipzig/Zentrum
after 1.8 km onto
a100, after 13.7 km exit #21, turn left, Oberlandstrasse
from Airport Berlin Schnefeld:
am Seegraben B96a direction Berlin onto a113. after 10.2 km onto a100,
after 2.9 km exit #21, turn right, Oberlandstrasse
Public Transport: U+S Hermannstrae, tempelhofer Damm, (1.1 km/13 mins)
U alt-tempelhof, tempelhofer Damm, (2.2 km/28 mins)
p84_1115
Vantage Prague
Vantage Film Prague s.r.o.
Sarajevsk 10
120 00 Praha 2 Czech Republic
Tel. +420 222 924 924
from Berlin: a13 direction Dresden, e55 direction

teplice, drive ahead towards Prague
center, direction Vinohrady
from Warszaw:
nchod, drive ahead towards Prague
center, direction Vinohrady
from Vienna: e461 direction Brno, D1 direction Prague,
drive ahead towards Prague center,
direction Vinohrady
from Budapest/Bratislava:
M1 direction Bratislava, D2 direction Brno,
D1 direction Prague, drive ahead towards
Prague center, direction Vinohrady
from Weiden: a93 direction Regensburg, Motorway
Junction Oberpflzer Wald, a6/e50
direction Prague
D5 direction Prague, drive ahead towards
Prague center, direction Vinohrady
Vantage Paris
Vantage Paris SARL
113-121 avenue du Prsident Wilson
93210 La Plaine Saint Denis France
Tel. + 33 1 49 21 88 90
GPS 48.9076408, 2.3579724

from Paris center:
Circular Road/Boulevard Priphrique
Porte de la Chapelle
Motorway a1 La Plaine Saint Denis
from airport Paris-Charles-de-Gaulle:
Head west toward Rue de lOr, keep left at
the fork, follow signs for a1/a3/a16/a104/
Paris/Marne-la-Valle/Cergy-Pontoise, then
keep right at the fork and continue straight.
after 800 m take the a1/a3 ramp to a104/
Paris/Marne-la-Valle/Sarcelles, keep left at
the fork, follow signs for a1/Saint-Denis. take
exit 2 toward a86/Saint Ouen/Paris-Porte de
Clichy, then keep right at the fork, follow signs
for n1/Saint-Denis/La Plaine, after 1.7 km turn
left onto Rue du Landy/D20, then into avenue
du Prsident Wilson.
Public Transport: ReR B La Plaine Stade de France
ReR D Stade de France Saint Denis
Mtro 12 Porte de la Chapelle
Bus 153 and 302 Proudhon
p85_1115
WEIDEN BERLIN PRAGUE PARIS
vantagefilm.com hawkanamorphic.com

Vantage Catalog 2015

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van-tage 1

For you its an art.

peter mrtin. If I feel it could be better, I make sure

Clients can be 100 percent sure

enthusiast thrives on challenges, We

Wolfgang Bumler. There was a

At Vantage Film, he is an Executive

Cinec award 2000

Tel +49 961 267 95

247 mobile +49 151 528 822 81

mobile +49 151 6246 0033

247 mobile +420 602 561561

mobile +49 151 5683 4642

16 and all 35 mm cameras are available in

Made in Germany by Vantage Film GmbH

Anamorphic lens systems are a favourite with

of reasons: the large negative size of the anamorphic

longer focal lengths; the elliptical blur which arises in

difference between spherical lenses and anamorphic lens capability was

focus mechanism or the 15 blade iris apertures

Vantage continuously develops new products for

Vantage Film has focused its efforts on developing products

Made in Germany by Vantage Film GmbH

Hawk V-Plus anamorphics build on the

Made in Germany by Vantage Film GmbH

in part because they were designed and built with the

meant that the anamorphic elements could not wield their

squeezed to the proper standard, but it lacked the Scope

Cinematographers should have anamorphic zoom lenses

curvature and barrel distortion, and distinct planes of focus

tool with all the anamorphic qualities they would expect

Focal CfD Angle of View

45-90 mm T2.8 - T16 0.75 26 53.3-29.2 22.7-12.4

80-180 mm T2.8 - T16 1 33 32.5-14.7 13.8- 6.3

Made in Germany by Vantage Film GmbH

eight primes are available:

constant t-stop The engraved T-Stops on the Hawk

Less weight The weight of every lens has been

new pL-mount The PL-Mount

new Focus scale The

Made in Germany by Vantage Film GmbH

Focal CfD Angle of View Weight Front Overall Min. Filter

Hawk V-Plus Anamorphics

Hawk V-Lite Anamorphics

Hawk Anamorphic - recommended Panning Speeds

Focal Length of Hawk Anamorphic Lens

28 mm 35 - 45 mm 50 - 65 mm 75 - 80 mm 85 - 100 mm 110 - 135 mm 140-150 mm

CfD Angle of View Weight Front Overall Min. Filter

Hawk V-Series Anamorphics

Hawk C-Series Anamorphics

Hawk Anamorphic recommended Panning Speeds

Focal Length of Hawk Anamorphic Lens

25-30 mm 35 - 40 mm 50 - 60 mm 75 mm 100 mm 135 mm 180 mm 250 mm 350 mm

Made in Germany by Vantage Film GmbH

The Hawk Vintage74 Anamorphic Lenses create the

These new zoom lenses required two years of testing

Made in Germany by Vantage Film GmbH

Focal CfD Angle of View Weight Front Overall Min. Filter

Hawk V-Lite Anamorphics Vintage74

Hawk V-Plus Anamorphics Vintage74 Zooms

The Hawk Vintage74 Lenses are

The Hawk Vintage74 Lenses are the

anamorphic and spherical shooting.

format Used image area advantages disadvantages Camera systems